A group of artists created in 1922 with the main goal. Art after the revolution: artist and power
Read also
AHRR - Association of Artists of Revolutionary Russia since 1928 - AHRR - Association of Revolutionary Artists The most numerous art 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 the speech delivered by Pavel Radimov, the last head of the Association of the Wanderers at the last, 47th exhibition of the association, held in 1922 in the House of Education and Arts Workers in Leontievsky 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 Wanderers as a model for embodying “today: the life of the Red Army, the life of workers, the peasantry, leaders of the revolution and heroes of labor, understandable to the masses.” This report was met with fierce attacks from the "left" front - avant-garde artists, who also took up the service of the revolution. Pavel Radimov became the head of the new association. The avant-garde was declared "harmful inventions".
The first organizational meeting took place at the apartment of the portrait painter Malyutin, one of the authoritative masters of old Russia. In May 1922, the AHRR was founded, at the same time the charter was adopted, the name was approved, and the presidium was formed (chairman P. A. Radimov, deputy chairman A. V. Grigoriev, secretary E. A. Katsman). Others included in the core of the organization - P. Yu. Kiselis, S. V. Malyutin. On May 1, 1922, the "Exhibition of Paintings by Realistic Artists to Help the Starving" opened on Kuznetsky Most, which later became considered the first exhibition of the AHRR.
AKhRR from its first steps enlisted solid material support from the leadership of the Red Army (Voroshilov). A number of practical tasks fixed in the Charter of the association included: providing "material, scientific and technical assistance" to artists and fine art workers, "every possible assistance in the development of the inclinations of artistic creativity and visual abilities among the working people" .
The Association of the Wanderers actually merged with the AHRR, the last head of which Radimov became the first chairman of the AHRR. From that moment on, the Wanderers as an organization actually ceased to exist. In addition, with the desire for realism, the Akhrovites attracted to their camp mature painters 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 gained 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, etc.
In addition, a powerful organization actively absorbed smaller art associations. In 1924, members of the New Society of Painters joined the AHRR, in 1926 - a group of "tambourines", in 1929 - artists from the association "Genesis", in 1931 - from the society "Four Arts". In 1926 at the AHRR in in full force included "Moscow painters". In 1931, a number of members of the OMX (Society of Moscow Artists) moved to the AHR, which caused the Moscow society to disintegrate.
Over the 10 years of its existence, the AKhRR, true to the line of the party, has become the largest artistic organization countries. 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 branches appeared in Leningrad, Kazan, Saratov, Samara, Nizhny Novgorod, Tsaritsyn, Astrakhan, Yaroslavl, Kostroma, Rostov-on-Don. A number of related groupings arose, for example, the Association of Artists of Red Ukraine (AKhChU), and in 1927 even the Association of Artists of Revolutionary Germany. In 1924, a publishing department was created under the leadership of V.N. Perelman, a “production bureau” (headed by A. A. Voltaire), 1925 - Information Bureau, Central Bureau of branches of the AHRR. “AHRR was an extremely numerous, mobile and ubiquitous organization. In contrast to the "stationary" art associations, AHRR, continuing the traditions of the Wanderers, showed their work in many cities. Even being in opposition to the artistic program of the AHRR, many associations were drawn to some of its tendencies - not out of opportunistic considerations (this, of course, also happened), but out of a desire to feel needed by the viewer, time. In the 1920s, the Association acquired everything more supporters, enjoyed the support of the state 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 - OMAHRR (Association of Youth of the Association of Artists of Revolutionary Russia), which soon acquired the status of an autonomous organization with its own charter. In addition, “AHRR was too persistent in its dictatorial tendencies; and sometimes this circumstance rather than its only artistic principles, provoked strong opposition from many artists and entire associations.
In 1928, the 1st Congress of the AHRR took place, which adopted a new declaration and changed the name of the association - into AHRR (revolution) from AHRR (revolutionary Russia). By the end of the 1920s, the Association was in a state of half-life: a separate “Association of Youth of the Association of Artists of the Revolution” (OMAHR, from 1928) was formed, mainly adhering to 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, the AHRR, along with all other art associations, was dissolved in 1932 by a 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 relations with the authorities and the reflection of Soviet reality developed by her formed the basis of the principles of the Union of Artists of the USSR. The AHR, like other art associations, became part of the unified Union of Soviet Artists (SSH).
In the 1920s, the heyday of the Russian avant-garde, which also wanted to work for the benefit of the revolution, the AHRR resolutely opposed itself to these masters who used the new artistic language. Relying on the legacy of the Wanderers, who believed that didactic content in a painting is much more important than artistic value, and “art should be understood by the people”, the Association created canvases that would not cause rejection of the mass audience with their complexity. One of the components was the realism of painting, the second was the choice of topics based on social and party orders (revolution, Soviet life and work). The declaration of the AHRR was set out in the exhibition catalog of 1922: “Our civic duty to humanity is the artistic and documentary depiction of the greatest moment of history in its revolutionary outburst. We will depict today: the life of the Red Army, the life of the workers, the peasantry, the leaders of the revolution and the 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 main task of the members of the Association was the creation of genre paintings based on scenes from modern life, in which they developed the traditions of painting by the Wanderers 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), such 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 government.
The ideology of AHRR-AHRR AHRR clashed in a fierce struggle with representatives of other artistic groups that did not hold on to realism and narrative painting. Akhrovtsy 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 painting. plot picture, fought against the slogan "art for art's sake" . Although the AHRR absorbed many smaller artistic groups, it did not disdain in particular to purge its ranks of ideologically alien artists. So, in 1924, the Commission for the re-registration of the AHRR decides to exclude from among its members a number of artists, former Bubnovaletists, “as alien to the ideology of the AHRR and the general comradely life. To exclude Lobanov, Rodionov, Maksimov, Vysheslavtsev as inactive people who are an extra ballast of an organization that does not respond ideologically. Of the most important opponents of the AKhRR, it is worth noting the OST, which is close to it in everything, except for some ideological and artistic subtleties, the competition with which continued even after the victory of the Akhrovites over the avant-gardists.
The AHRR manifested itself especially energetically during the years of the Great Turning Point, when it published appeals in the journal Art to the Masses: “Artists of the revolution, fight for the industrial financial plan! Artists of the revolution, all to factories and plants for the great historical cause - active participation in the fulfillment of the five-year plan. Decorate wall newspapers, socialist competition boards, red corners, draw portraits of the heroes of the struggle for the industrial financial plan, scour the wall newspapers of idlers, grabbers, truants, flyers in caricatures, scour bureaucracy, identify wrecking! Artists of the revolution, in order to carry out all this work, develop social competition among yourself in its highest forms and phases (cross-cutting brigades, public tug, etc.), declare yourself shock workers, join the brigades organized by trade union organizations, eliminate the backlog of the entire isofront from the general front of struggle for socialism! Fight for a five-year plan in four years!”
Artistic characteristics of painting Typical features of the works of Akhrovites are a clear narrative, conservative "realism", an attempt to recreate a historical or contemporary event (that is, heroized documentary). Artists of the AHRR 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 pettiness and illustrativeness" . They embodied their slogan of "artistic documentaryism": the practice of field trips was extremely common. Painters went to factories and factories, to the Red Army barracks, to observe the life and life of their characters there. Their activities 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 back a significant number of sketches that formed the basis of their works. The concept of creative business trips was embodied: the painters went on trips together with the expeditions of the Academy of Sciences, prospecting geologists, and builders.
The AHRR artists played an important role in mastering new topics for Soviet art, for example, the Soviet landscape, influencing representatives of various artistic groups of that time. Undoubtedly, they influenced the formation of the theory of socialist realism in painting. Additionally, AHRR used the inventions of the agitation industry, since its task was not only to create canvases on current topics, but also to let them go to the people, replicating them on posters and postcards. Also, "despite the programmatic anti-modernist attitudes, the elements of modernity (symbolism and impressionism) constantly make themselves felt, but, as it were, in a pacified version, alien to fantasies" . Most of the significant artists of the AHRR studied painting back in tsarist times on the basis of an 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 led to the fact that the works of prominent Akhrovites are not weak either in drawing or in 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 starving" (salon on Kuznetsky Most Street) 2. 1922 - "Life and life of the Red Army" (Museum of Fine Arts). The declaration of the AHR was published in the catalog 3. 1922 - Exhibition of paintings, sketches, sketches, drawings and sculptures “The 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 "(The first agricultural and handicraft-industrial exhibition, now the territory of the TsPKi. O) 6. 1924 - "Revolution, life and work" (GIM) 7. 1925 - “Revolution, Life and Labor” (Museum of Fine Arts) 8. 1926 - “Life and Life of the Peoples of the USSR” (former Agricultural Exhibition, now the territory of the TsPKi. O; Leningrad - in a reduced composition, halls of the Academy of Arts ) 9. 1927 - "Exhibition of sketches, sketches and sculptures of artists of the Moscow organization of the AHRR" (Museum of the Revolution) for the tenth anniversary of the October Revolution (the declaration of the AHRR is published in the catalog) 10. 1928 - "X Years of the Red Army" (Central Telegraph building), to artists from other associations are involved in the exhibition; AHRR declaration is published. Works so different in style and content appeared, such as Deineka's "Defense of Petrograd", Petrov-Vodkin's "Death of the Commissar", P. Kuznetsov's "Fergana Partisans", Sokolov-Skal's "Taman Campaign", Shukhmin's "Offensive Order", etc. 11 1929 - "Art to the masses" (MGSPS stadium, now the territory of the TsPKi. O). The declaration of the AHR and the declaration of the OHS (Society of Easel Painters) was published in the catalog. In 1928 the AHRR organized two traveling exhibitions for workers' clubs in Moscow. In 1928 the first OMAHRR exhibition opened (Moscow), in 1929 two OMAHR exhibitions were held (one of them presented the work of the textile section). IN further artists AHRR take part in various thematic exhibitions: 2. "Painting, drawing, film-photo, polygraphy and sculpture on the theme "Life and life of the children of the Soviet Union" (1929) 3. "The first traveling exhibition" (1929), 4. "Red The Army in Soviet Art (Moscow, State Tretyakov Gallery), 5. Exhibition of Works on Revolutionary and Soviet Themes (1930, State Tretyakov Gallery), etc.
Isaa k Izrailevich Brodsky (1883-1939) - Soviet and Russian painter and graphic artist, teacher and organizer of art education, Honored Art Worker 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. Isaak Brodsky was born on December 25, 1883 (January 6, 1884) in the village of Sofiyivka near Berdyansk (at that time - the Tauride province, now - the Zaporozhye region of Ukraine), into a Jewish family. My father was a merchant and landowner, a merchant of the second guild of the city. Nogaisk, Taurida province. Younger sister Raisa (1894-1946) was a musician, a graduate of the St. Petersburg Conservatory. In 1896 he graduated from the Berdyansk City College. He considered the city of Berdyansk his homeland. From childhood he showed a talent for painting. From 1896 to 1902 he studied at the Odessa Art College with L. D. Iorini, K. K. Kostandi and G. A. Ladyzhensky. Then moved to. Petersburg and continued his studies at the Moscow Academy of Arts. For five years he studied at the Academy with I. E. Repin. In 1909-1911, with the money of the Academy, he traveled around 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 im. A. I. Kuindzhi "," Communities of Artists ". In the summer of 1917, he began a portrait of Alexander Kerensky (he finished already in 1918, when the Provisional Government was overthrown), and after the October Revolution, he actively painted portraits of Bolshevik leaders. Brodsky worked hard on creating 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. To work at the Leningrad Institute of Painting, Sculpture and Architecture headed by him, I. I. Brodsky attracted the largest artists and teachers: K. F. Yuon, P. S. Naumov, B. V. Ioganson, A. I. Lyubimov, R. R. Frentz, 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. Bilibina, M. G. Manizer, P. D. Buchkin, A. P. Ostroumov-Lebedev, A. E. Karev, B. A. Fogel, L. F. Ovsyannikov, S. V. Priselkova , I. P. Stepashkin, K. I. Rudakov and others. His students were such famous artists and teachers as 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 Literatorskie mostki at the Volkovskoye cemetery. . In the center of Leningrad (Arts Square, 3 - Golenishchev-Kutuzov's House) a museum of the artist was created - the museum-apartment of I. I. Brodsky, which is a department of the Research Museum of the Russian Academy of Arts. In September 1940, Lassalya Street near Nevsky Prospekt was renamed Brodsky Street (in 1991 it was returned historical name- Mikhailovskaya street). The name of Brodsky is the Berdyansky founded by him in 1930 Art Museum, 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 wires of the Red Army units to the Western Front on May 5, 1920. 1933
Mikhail Vasilyevich Frunze (party pseudonyms Mikhailov, Trifonych, Arseniy, 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 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). People's Commissar of Defense K. E. Voroshilov on a ski trip. 1937 Kliment Efremovich Voroshilov (January 23, 1881, the village of Verkhnee, Yekaterinoslav province (now the city of Lisichansk, Lugansk region) - December 2, 1969, Moscow) - Russian revolutionary, Soviet military leader, statesman and party leader, participant in the Civil War, one of the first Marshals of the Soviet Union. From 1925 he was People's Commissar for Military and Naval Affairs, in 1934-1940 People's Commissar for Defense of the USSR. In 1953-1960 - Chairman of the Presidium of the Supreme Soviet of the USSR. Twice Hero of the Soviet Union, Hero of 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 his stay in the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks (CC of the CPSU), the Presidium of the Central Committee of the CPSU (34.5 years).
Mitrofan Borisovich Grekov Real name - Martyshchenko Mitrofan Pavlovich (June 3, 1882, village Sharpaevka, Yanovskaya volost, Donetsk district, Don Cossack Region - November 27, 1934, Sevastopol) - Soviet battle painter of Russian Cossack origin. Born in a Cossack family, on the farm Sharpaevka of the Don Cossack Region (now the Rostov Region). First he went to study painting at the Odessa Art School (with Kiriyak Kostandi), then ended up at the St. Petersburg Academy of Arts, where he studied with I. Repin and F. A. Rubo - a classic of the battle genre. Became the founder of the Soviet battle genre. During the First World War he was at the front, from where he brought many sketches. In the Civil War he fought in 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 most famous works of the artist: Trumpeters of the First Cavalry, Tachanka, Battle of Yegorlykskaya, Frozen Cossacks of General Pavlov. He headed the team creating the panorama "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 Academy of Arts of the USSR from 1949 to 1952. Academician of the Academy of Arts of the USSR (1949). Honored Artist 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 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 under Kazimir Malevich. In 1922 he organized a KNIFE group, then taught at correspondence courses in drawing, from 1929 to 1931 - in Vkhutein, worked at the School of Memory of 1905, since 1934 - at the Moscow Art Institute. V. I. Surikov, since 1940 - professor. Honored Artist of the RSFSR (1944). Full member of the Academy of Arts of the USSR (1949). Wrote mostly female portraits. In 1937, the works of G. G. Ryazhsky "Delegate" and "Chairman" were awarded a large gold medal at the International Exhibition in Paris.
Sergey 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, worked in Moscow. The author of painting the first Russian nesting dolls. 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 - in 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 directed art workshops, which served as an example for the further development of the Russian art industry. Member of the artistic association "World of Art" 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 the GSHM-VKhUTEMAS 1918-1921 - Participated in the creation of "Windows of Satire ROSTA" 1922 - One of the organizers of the Association of Artists of the Revolutionary Russia" 1927-1931 - member of the art group "Association of Realist Artists
Boris Vladimirovich Ioganso n (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 Academy of Arts of the USSR (1947). People's Artist of the USSR (1943). Hero of Socialist Labor (1968). Laureate of two Stalin Prizes of the first degree (1941, 1951). Member of the CPSU (b) since 1943. Boris Ioganson was born in Moscow in 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 stage designer in the theaters of 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 of the 1930s. In his work, he turned to the most valued at that time, the traditions of Russian painting XIX century - the legacy of I. E. Repin and V. I. Surikov. Interpreting it, he introduces into his works "a new revolutionary content, consonant with the era." His paintings are especially famous: "Interrogation of the Communists" (1933) and "At the old Ural factory" (1937). In 1937-1961 he taught at the Repin Institute in Leningrad, since 1939 - as a professor. Since 1964 he worked in Moscow, taught at the Art Institute. V. I. Surikov. From 1953 he was vice-president, and in 1958-1962 - president of the Academy of Arts of the USSR. 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 the Countries and Peoples of the World. Deputy of the Supreme Soviet of the USSR of the 7th convocation (1966-1970). Delegate of the XX and XXIII Congresses of the CPSU. Died February 25, 1973.
OST (OHST) The Society of Easel Artists is an art group founded in 1925 in Moscow by a group of VKhUTEMAS graduates headed by David Shterenberg. A characteristic feature of the work of the OST is the glorification of Soviet reality (industrialization, sports, etc.) using the techniques of modern European expressionism. It 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 Debate Exhibition of Associations of Active Revolutionary Art took place (Moscow, Tverskaya st., 54), where VKhUTEMAS students took part in the following groups: “projectionists” (S. Luchishkin, S. Nikritin, K. Redko, N Tryaskin A. Tyshler; the group was 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, whose chairman, as the most respected and "foreman", Shterenberg, a teacher VKHUTEMAS, whose students (as well as V. A. Favorsky) were the majority of the participants in the association. The founding members of the OST were Yu. Annenkov, D. Shterenberg, L. Weiner, V. Vasiliev, P. Williams, K. Vyalov, A. Deineka, N. Denisovsky, S. Kostin, A. Labas, Yu. Merkulov, Yu Pimenov. The Charter of the OST 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, Yu. Pimenov; 1927 - P. Williams, Yu. Pimenov, L. Weiner, N. Shifrin.
Ideology The group's name - the Society of Easel Artists - was associated with heated discussions about the fate and purpose of art. A group of contemporary Ostov painters fundamentally rejected easel forms of creativity for the sake of artistic and production tasks, which the members of the future Ost did not like. Actually Shterenberg, while still at his post in the department of fine arts as a teacher, contributed to the development of this production art, but as a painter and member of the OST, he already began to defend the fruitfulness of easel painting. The anti-machine gunners, and then the AHRR, became the main opponents of the OST. P. Williams. "Rally", 1930, State Tretyakov Gallery. One of the most famous paintings OST combines expressiveness, lightness of stroke, as well as a modern theme - cars preferred the Soviet theme, but did not reject the tools of the artistic language invented in the 20th century. Unlike the Akhrovtsy, who were guided by the very nature-like realism of the Wanderers, the Ostovtsy considered the latest European trends, especially expressionism, to be their aesthetic ideal. This was partly due to the fact that most of the members of the association were VKHUTEMAS graduates - young people who sought to "express the energy and vigor of a young country." Only Shterenberg was a representative of the older generation. The OST began to be called "the most left of the right groups".
Researchers note that at first the program and practice of the OST contained a lot of purely speculative experimental fervor and mischief, but something else is important - this Society was dominated by a creative atmosphere, it was dominated by an avid 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 up the revolutionary themes of the Civil War (the best examples of which were presented by the Akhrovites), but preferred peaceful, bright themes, “signs of the 20th century”, typical phenomena of the peaceful reality of their day: the life of an industrial city, industrial production, sports, etc. In educational plan was determined by the "orientation to the artistic youth" . They sought to reflect in individual facts the new qualities of their contemporary era. Main themes: Industrialization of Russia, recently still agrarian and backward, the desire to show the dynamics of the relationship between modern production and man. Life of the city and urban man of the XX century. Mass sports (football, tennis, sports competitions and crosses, gymnastics), which also became a characteristic feature of the life of Soviet society.
Members of the OST advocated realistic painting in an updated form, opposing it to non-objective art and constructivism. The OST asserted the importance and vitality of easel art forms. The main task of the Ostovtsy, like the "Akhrovtsy", considered the struggle for the revival and further development easel painting on a contemporary theme or contemporary content- in what they completely differed from LEF. The OST was inclined to see the strict reality of the 1920s poetically and to realize it in a professionally and logically constructed picture, thus entering into polemics both with the documentaryism of the AHRR and with the more abstract searches of the avant-garde.
from the Charter of the OST: Considering that only art of high quality can set such tasks for itself, it is necessary in the conditions of the modern development of art to put forward the main lines along which the work should proceed (. . .) a) rejection of abstractness and wandering in the plot; b) the rejection of sketchiness as a phenomenon of disguised dilettantism; c) rejection of pseudo-cezannism as decomposing the discipline of form, pattern and color; d) revolutionary modernity and clarity in the choice of plot; striving for absolute mastery (. . .); e) striving for the finished picture; g) orientation towards artistic youth.
The artists sought to develop a new pictorial language, concise in form and dynamic in composition. The works are characterized by a sharp brevity of form, its frequent primitivization, the dynamics of the composition, and the graphic clarity of the drawing. “In search of a language adequate to their figurative and thematic aspirations, the “Ostovtsy” no longer turned to wandering, but to the traditions of European expressionism with its dynamism, sharpness, expressiveness, modern traditions poster and cinema, which have a free and precise sense of space, the ability to have a sharp, expressive impact on the viewer (in particular, stylistically gravitating towards German expressionism). “They needed a loud and clear voice, a concise and expressive artistic language, they boldly introduced the techniques of graphics, posters, frescoes into the paintings.” "The style was very advanced, including elements of constructivist montage, as well as figurative estrangement and deconstruction, characteristic of expressionism and surrealism" .
“All these new tasks have defined new methods. One of the principles of the compositional construction of the picture is the fragmentation of space. The plot to which the image is dedicated ceases to be closed, becomes an organic part of the infinite world. The silhouettes of people are enlarged and come to the fore. Depicting them in contrast and color, and size in relation to everything else, the artists emphasize their dynamic power. Ostovsky easel art, thus, absorbs elements of monumental painting, for a long time providing this type of art with living space within itself. It is all the more important to note and emphasize that 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 storytelling with modern formal means is (. . .) the course taken by OST. The course is fundamentally absolutely correct, 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 fine arts (it was OST, even to a greater extent than Jack of Diamonds, that became the stylistic basis for the harsh style of the 1960s)” .
Deineka left the OST 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 that young people were not limited to the search for a pictorial form, but invaded related art forms - posters, magazine drawings, theatrical scenery, tried 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 adjoining him began to retreat to the positions of chamber easel painting with an underlined conditional interpretation of the surrounding world. Their formal-stylistic experiments often took on a laboratory character, clothed in excessively artificial form. Deineka and his associates in the 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 value certain types and art genres. “The most consistent easel artists defended the priority of purely pictorial methods of working on magazine drawings, posters, monumental panels, adherents of intimate lyrical painting expressed complaints against those who were fascinated by the search for a great style of the era. Most likely, Deinek was not satisfied with the internal division of artists, the desire of some members of the association to approve the priority of pure formal innovations over the search for specific meaningful imagery ”The association itself in its original composition did not last long. 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, and others) gravitated toward depicting urban life, new technology, the industrial landscape, sports, and young, physically developed people. Their works were distinguished by dynamism, clarity of composition, graphic nature in the transfer of forms. Another group that united around Shterenberg (Goncharov, Labas, Tyshler, Shifrin and others) worked in a freer manner, preferring lyricism and picturesqueness to the rational organization of works.
Initially professional debate and controversy between members of both groups soon took on political overtones. Experiencing increased ideological censorship and political attacks from the AHRR, and later the RAPH, the society underwent a split (it was accused of formalism, bourgeois individualism, etc.). At the beginning of 1931, the Ostovites came to the decision that one of the groups should withdraw from the Society. This group was the artists headed by Shterenberg, who retained the old name. The remaining artists soon abandoned the name OST and announced themselves as a new association - "Izobrigada" ("Brigade of Artists"). (Some of the participants also moved to the October organized in 1930, which included Deineka).
Board of the rest of the OST: D. Shterenberg (chairman), A. Labas, A. Tyshler and A. Kozlov. The Isobrigades (Yu. Pimenov, P. Williams, and others) made accusations against their recent comrades and assured them that from now on they would be “for journalism in art as a means of sharpening the figurative language of art in the struggle for the combat missions of the working class "" The board of the Isobrigade: V.P. Tyagunov - chairman; Adlivankin, Williams, Luchishkin, Pimenov). In the end, the OST itself and its heirs, along with all other art associations, was dissolved in 1932 by a decree of the Central Committee of the CPSU (b ) dated April 23 "On the restructuring of literary and artistic organizations"... Its remnants merged into the Moscow branch of the Union of Soviet Artists.
Members of the OST In total, the OST united more than 30 main artists: Annenkov, Yuri Pavlovich Williams, Petr Vladimirovich Volkov, Boris Ivanovich Goncharov, Andrey Dmitrievich Deineka, Alexandrovich Kupreyanov, Nikolai Nikolaevich Labas, Alexander Arkadyevich Luchishkin, Sergey 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 (since 1928) Weiner, Lazar Yakovlevich Vasiliev V. Vyalov, Konstantin Aleksandrovich Gorshman, Mendel Khaimovich Denisovsky, Nikolai Fedorovich Dobrokovsky, Mechislav Vasilievich Zernova, Ekaterina Sergeevna Kishchenkov (Lik) L. I. Klyun, (Klyunkov) Ivan Vasilyevich Kozlova, Klavdiya Afanasyevna Kostin, Sergey Nikolaevich Kolyada, Sergei Avksentievich 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 Vasilyevich Ellonen, Viktor Vilgelmovich Kuptsov, Vasily Vasilyevich
Most famous paintings Ostovtsev: P. Williams, “Auto Race” (1930), “Hamburg Uprising” D. Shterenberg, “The Old Man (Old)” (1925), “Aniska” (1926) A. Deineka, “At 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 the Turksib" (1931) S. Luchishkin, "The Balloon Flew" (1926), "I Love Life" Yu. 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 in the first half of the 20th century. Youth and Parisian period Born into a Jewish family in Zhytomyr. He was a student of a photographer in Odessa, 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 was engaged in phototype and studied painting, first at the School of Fine Arts, and then at the A. Vitti Academy. Among his fellow students was Dutch painter 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 the expositions of the Paris Salon. Later he joined the Salon des Indépendants, becoming close to other artists of the Parisian school: Lipchitz, Kisling, Diego Rivera, Marc Chagall and others. Sterenberg's paintings of the Parisian period are often contradictory and heterogeneous. The recognizable style of the artist will develop only towards the end of his stay in Paris.
Return to Russia After the October Revolution of 1917, Shterenberg returned to Russia, where the political past and acquaintance with the People's Commissar of Education A.V. Lunacharsky played a role. Familiar with the Parisian work of Shterenberg, Lunacharsky appoints him head of the Department of Fine Arts of the People's Commissariat for Education. Along with Nathan Altman and other figures of Russian culture, 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 members of the Jewish Society for the Promotion of Art was held 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 program article "The Tasks of Modern Art" in the news of the Petrograd Soviet. From 1920 to 1930 he taught at VKhUTEMAS. In 1922, Shterenberg took part in an exhibition of Jewish artists in Moscow, in which Marc Chagall was also 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 Komfuts (communist futurists). He refused to join the LEF due to the denial of easel art by the theoreticians of the LEF. 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 Narkompros united avant-garde artists who were rejected by the former official art. Shterenberg gave great attention organization of exhibition business and issues of art education. Shterenberg saw the main task of Soviet art in the need to increase the 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 Academy of Arts of the USSR (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 (the former 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 faculty of VKhUTEMAS, where he studied at the department of woodcuts with V. A. Favorsky. Since 1923, he constantly worked as an illustrator in newspapers, magazines, publishing houses (Izvestia of the Central Executive Committee, "Academia", "Young Guard", GIHL, etc.). Participated in the design of the All-Russian agricultural and handicraft-industrial exhibition. In 1924, he exhibited for the first time at the First Debate Exhibition of Associations of Active Revolutionary Art (Moscow, Tverskaya st., 54) as part of the "Group of Three" with A. A. Deineka and Yu. I. Pimenov. Since 1925 he has been a 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 a printing 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 - Associate Professor of the Leningrad VKHUTEIN. In 1930-1934 he was an assistant professor at MPI. In 1934-1938, he was an associate professor at the Moscow State Academic Art Institute named after V. I. Surikoyv. During the Great Patriotic War(1941-1945) served in the ranks of the Red Army. He worked as a production editor and artist in the magazine "Front Humor" (publication of the 3rd Belorussian Front), and then the main artist of the exhibition "Political work in parts of the 3rd Belorussian Front". In 1947-1948 he taught at the Moscow Central School of Industrial Art at the faculty of monumental painting. In 1948-1979 he taught at Moscow Polygraphic 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". In 1971-1979, Goncharov served as chairman of the jury of the All-Union annual competition "The Art of the Book". Corresponding member of the Academy of Arts of the USSR (1973). A. D. Goncharov died on June 6, 1979 in Moscow.
Alexander Arkadyevich Laba (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, Labas' father, a journalist and publisher, moved with his family to Riga, and in 1912 to Moscow. Labas enters the Imperial Stroganov School of Industrial Art. At the same time, he studies in the studio of F. Rerberg, then in the studio of I. Mashkov. Since 1917, he has been studying at the State Art Workshops (hereinafter VKHUTEMAS), first in the workshop of F. Malyavin, and then in the workshop of P. Konchalovsky. He studies with K. Malevich, V. Kandinsky, P. Kuznetsov, K. Istomin, A. Lentulov. In 1919 - the 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 engaged in the design of performances at the Theater of the Revolution, the Theater. VF 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-Union Agricultural Exhibition (1938-1941). One of the founding members of the OST (Society of easel painters). In the 20s - 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 he is accused of formalism, his works are not acquired by museums, are not accepted for exhibitions.
Alexander Grigoryevich Ty Shler (July 14, 1898 Melitopol - June 23, 1980, Moscow) - Soviet painter, graphic artist, theater artist, sculptor. Honored Art Worker Uz. SSR (1943). Laureate of the Stalin Prize of the second degree (1946) Alexander Tyshler was born in Melitopol (now the Zaporozhye region of Ukraine) in the family of a craftsman. In 1912-1917 he studied at the Kiev Art College, in 1917-1918 - in the studio of Alexandra Exter. In 1919, Tyshler volunteered to join the Red Army; serving at the administration of the Southern Front, he made posters for ROSTA windows, illustrated the first primers in the languages of the peoples who had no written language before the revolution: Kalmyk, Mordovian, Tatar, and also in Yiddish. In 1921, after demobilization from the army, he entered VKhUTEMAS, studied at the workshop of Vladimir Favorsky. In 1927, Alexander Tyshler made his debut as a theater artist, designing a number of performances in 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 GOSET Moscow Jewish Theatre. In the early years theatrical works Tyshler was characterized by features of expressionism, generally characteristic of his work of this period: emphasized whimsicality, often arbitrariness of stage images - in the future, the artist's style changed. From the mid-1930s, beginning with King Lear at GOSET and Richard III at the Leningrad Bolshoi Theater (both in 1935), Shakespeare occupied a central place in Tyshler's theatrical work. Many of his works have contributed to the world "Shakespearean"; Tyshler created stage images imbued with expression and intense emotionality, easily transforming structures based on the principle of the folk square theater. In the post-war years, these features of the mature Tyshler were transformed in different ways in the productions of Soviet and modern foreign drama, including in the performances of V.V. V. Vishnevsky at the Moscow Drama and Comedy Theater (1956), "Saint Jeanne" by B. Shaw in "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.
Aleksandrovich Deineka (1899-1969) - Soviet painter, graphic artist and sculptor, teacher. Academician of the Academy of Arts of the 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. Alexandrovich Deineka was born on May 8 (May 20), 1899 in Kursk in the family of a railway worker. He received his initial education at the Kharkov Art School (1915-1917). The youth of the artist, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the section of fine arts in Gubnadobraz, designed propaganda trains, theatrical performances, and participated in the defense of Kursk from the Whites. From 1919 to 1920, Deineka served in the Red Army, where he directed the art studio at the Kursk political administration and the Windows of Growth 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). Of great importance in the creative development of the artist were the years of apprenticeship and communication with V. A. Favorsky, as well as meetings with V. V. Mayakovsky. creative look Deineki clearly and clearly manifested himself at the very first major exhibition in 1924 (the First Debate 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 the OST and became a member of the Oktyabr art association, and in 1931 - 1932 - a member of the Russian Association of Proletarian Artists (RAPH). In 1930, the artist created posters expressive in terms of color and composition “We are mechanizing the Donbass”, “Athlete”. In 1931, works very different in their mood and subject matter appeared: On the Balcony, The Girl at the Window, The Mercenary of the Interventions.
A new stage in the work of Deineka began in 1932. The most significant work of this period is the painting "Mother" (1932). In the same years, the artist created poetic works: “Night Landscape with Horses and Dry Herbs” (1933), “Bathing Girls” (1933), “Noon” (1932), “Behind the Curtain” (1933), etc. Along with works of lyrical sound also appeared socio-political works: "Unemployed in Berlin" (1933), drawings filled with anger for the novel "Fire" by A. Barbusse (1934). From the beginning of the 1930s, Deineka turned 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 painted a number of paintings, one of the most romantic - "Future Pilots" (1937). The historical theme found its embodiment 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 The 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 traveled to the front near the city of Yukhnov. During this time, he created tense and dramatic works. Painting “Outskirts of Moscow. November 1941 ”(1941) - the first in this series. Deep suffering is imbued with another work - "The Burnt Village" (1942). In 1942, Deineka created the canvas “The Defense of Sevastopol” (1942), filled with heroic pathos, which was a kind of hymn to the courage of the defenders of the city. Among the significant works of the post-war period are the canvases “By the Sea. Fishermen "(1956)," Military Moscow "," In Sevastopol "(1959), as well as mosaics for the foyer assembly hall Lomonosov Moscow State University (1956), mosaic for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka's mosaics adorn the Mayakovskaya (1938) and Novokuznetskaya (1943) Moscow metro stations. Deineka taught in Moscow at the VKhUTEIN (1928-1930), at the Moscow Polygraphic Institute (1930-1934), at the V.I. 1953, until 1948 director), at the Moscow Architectural Institute (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 of the Academy of Arts of the USSR. On June 12, 1969 Aleksandrovich Deineka died. He was buried at the Novodevichy Cemetery in Moscow (site No. 7). Deineka's works are in the collections: KKG im. A. A. Deineki, State Tretyakov Gallery, State Russian Museum, Institute of Russian Realist Art (IRRI), etc. Deineka’s works in connection with the development of the art market in Russia in recent years, the demand for the works of this artist and the absence of new serious scientific descriptions his works quite often become the object of falsification. A painting by Soviet artist Alexander Deineka "Behind the Curtain" was sold at a Mac auction in London. Dougall's for 2 million 248 thousand pounds - nearly 3.5 million dollars[
Ferdinand Hodler. Performance by Jena students in 1813. 1908 -1909 Ferdinand Hodler (Godler) (German Ferdinand Hodler; March 14, 1853, Bern - May 19, 1918, Geneva) - Swiss artist. One of major representatives"modern". In those years he painted landscapes, portraits in the spirit of realism. In 1875 he visited Basel, having studied the work of Hans Holbein the Younger there, especially scrupulously his painting The Dead Christ, which later led to his attention to the theme of death. The work of the 1890s shows the influence of several genres, including symbolism and "modern". 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, stage designer and theater designer. Honored Artist of the RSFSR (1944). Laureate of three Stalin Prizes of the first degree (1943, 1946, 1947). Pyotr Williams was born on April 17 (30), 1902 in Moscow in the family of a 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 forever remained in her. Since 1909, he attended the school-studio of V. N. Meshkov. In 1918 he was a student of the medical faculty of Moscow State University for a short time. 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 an experimental Museum of pictorial culture. In 1922-1924 he was a member of the "concretivists" group, standing at the origins of the 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 Bolshoi Theater, created an emotional, stylistically integral 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 Born in the family of a shopkeeper. In 1917-1923 he studied at the courses of recitation (since 1919 - the State Institute of the Word). In parallel, he studied in 1919-1924 at the Free Art Workshops with A. Arkhipov, and then (when they were transformed into VKHUTEMAS) - with Lyubov Popova, Alexandra Exter 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 Picturesque Surface, 1924). In 1923-1929 he directed the studio "Projection Theatre", which combined scenography in the spirit of constructivism with the beginnings of the theater of the absurd. Until 1930, he repeatedly acted as the organizer of city propaganda processions, in 1930-1932 he was artistic director and director of the Moscow Proletkult Theater of Small Forms. In 1932 he joined the board of the Moscow organization of the Union of Artists (MOSH). The playful beginning, combined with absurdity and tragedy, is characteristic of Luchishkin's best easel works (I love life very much, 1924-1926; The ball flew away, 1926; Stretching out his neck, guarding the collective farm night, 1930). He acted as production designer for the film Circus (directed by G. Aleksandrov, 1936). In the future, he was engaged in posters, design work at the All-Union 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 designer, set designer and graphic artist, teacher, professor. Academician of the Academy of Arts of the USSR (1962; corresponding member 1954). People's Artist of the USSR (1970). Laureate of the Lenin Prize (1967) and two Stalin Prizes of the second degree (1947, 1950). Yuri Pimenov was born in Moscow in the family of a lawyer. In 1920-1925 he studied at VKHUTEMAS with V. A. Favorsky and S. V. Malyutin. Upon graduation in 1925, he became one of the founders of the Society of Easel Painters. In the early period, Pimenov was greatly influenced by German expressionism, which largely explains the hysterically dramatic sharpness of his best paintings of these years: Invalids of War (1926, State Russian Museum), “Give 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 a renewed impressionism, professing the creative principle " beautiful moment”, a light and artistic image-impression. In 1962 he was elected a full member of the Academy of Arts of the USSR. In 1966, Pimenov signed a letter from 25 cultural and scientific figures to the General Secretary of the Central Committee of the CPSU 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 Nikolai Nikolaevich Lebedev Vladimir Vasilievich Matveev Alexander Terentievich Mogilevsky Alexander Pavlovich Mukhina Vera Ignatievna Nivinsky Ignatievich Niss-Goldman Nina Ilyinichna Ostroumova-Lebedeva Anna Petr ov -Vodkin Kuzma Sergeevich Saryan Martiros Sergeevich Ulyanov Nikolai Pavlovich Favorsky Vladimir Andreevich Shchusev Alexey Viktorovich
OMX - Society of Moscow Artists Society of Moscow Artists - founded in 1928, at the same time the charter and declaration were published. The OMX included former members of the Moscow Painters, Makovets and Genesis associations, as well as members of the Jack of Diamonds. The members of the association developed the Soviet theme, sought to convey the material diversity of the world with the help of the plastic unity of color and form, a combination of energetic modeling of volumes and light and shade modeling. The declaration of the society read: "We demand from the artist the greatest effectiveness and expressiveness of the formal aspects of his work, forming an inseparable unity with the ideological side of the latter." In 1931, a number of OMC members moved to the AHR and the society disintegrated. The society had art and production workshops (MASTOMKh).
Artists OMX Society united up to 70 members and candidates Gerasimov, Sergei Vasilievich 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, Alexei Alekseevich Osmerkin, Alexandrovich Rozhdestvensky, Vasily Vasilyevich Ryndin, Vadim Fedorovich Udaltsova, Nadezhda Andreevna Falk, Robert Rafailovich Feigin, Moisey Alexandrovich 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), a great Russian painter, academician. Wife - Olga Vasilievna 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 the Socialist Truda, author of the anthem of the USSR and Russia Chairman of the Union of Cinematographers of the Russian Federation Great-grandchildren: Yegor 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 Association of Wanderers. Honored Artist of the RSFSR (1931). In his work, he paid tribute to impressionism, and symbolism, and realism. The author of portraits of revolutionary leaders, the initiator of the "Leniniana" (he created about 100 sculptural and 200 graphic images of V. I. Lenin). 1885 - 1891 - studied at the Stroganov School of Industrial Art. 1892-1901 - studied at the Moscow School of Painting, Sculpture and Architecture under the guidance of S. M. Volnukhin; experienced a strong formal influence of P. P. Trubetskoy. 1904 - joins the Association of Wanderers.
Iva n Dmitrievich Shadr (real name - Ivanov; January 30 (February 11), 1887, Taktashinsky, now the 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, the working settlement 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, Kovrovsky district, Vladimir province (c. 1863 - November 23, 1935). The village of Taktashinsky is a place of seasonal the work of the carpenter Dmitry Evgrafovich Ivanov, and the permanent place of residence is the city of Shadrinsk district of the Perm province (now in the Kurgan region). Occupation Dmitry Evgrafovich 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 Ostrovnoy Masleyskaya volost of the Chelyabinsk district (now in the Mishkinsky district of the Kurgan region).In 1898, Vanya In 1901 Ivan ran away from the factory. Without any preparation, he successfully passed the exam in drawing at the Yekaterinburg School of Industrial Art, where he studied until 1906 with T. E. Zalkaln. In the summer of 1907, Ivan, together with fellow student Peter Drobyshev, set off to wander around Russia to the places where Maxim Gorky had once visited. They visited the Kama, Volga, Don, traveled around 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. Once his voice was heard by the director of the 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 as a singer. At the school, I. Shadr continued to draw and sculpt. His drawings came to I. E. Repin, who gave them a high rating. At the request of the 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 School of Music and Drama. Ivan lived in the capital until 1908, then he served in the Russian Imperial Army for a year.
In 1910 Ivan went abroad. First to Paris, where he was a student of the higher municipal courses of sculpture and drawing at the Academy de la Grande Chaumière under the guidance of F. O. Rodin and E. A. Bourdelle. In 1911, the 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 lectured on art. He worked in the Political Education of the 5th Army and in the Sibrevkom. In 1921, as soon as the railway communication was restored, Shadr left for Moscow. In 1926, I. Shadr became a member of the Society of Russian Sculptors, later the Union 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 a Muscovite Tatyana Vladimirovna Guryeva (1893 - August 19, 1974) , was 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 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, they are distinguished by viscous, heavy rhythms, addiction to the metaphorical understanding of the motive of the human body, the stone solidifying in dead matter or being released from it, sometimes using elements of folk architecture. Among his early works stands out the project "Monument to World Suffering" (1916). Later, this work was transformed into an even more grandiose project "Monument to Humanity". In 1919, the Siberian Cadet Corps ordered Ivan Shadr a monument to his pupil, General Kornilov, for 18 thousand rubles. In the same year, the sculptor is 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 for banknotes of the series "Revival of Russia". However, these projects remained unrealized, since in November 1919 the Provisional All-Russian Government fled from Omsk, and the city was occupied by units of the Red Army. In April 1920, I. Shadr undertakes to perpetuate the memory of the victims of the White Terror, who were 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, peasant, Red Army soldier and sower (gypsum, 1922, Russian Museum; bronze castings - in Tretyakov Gallery), created by order of Goznak for reproduction on banknotes. The first three sculptures became the basis for issuing the fourth definitive issue of postage stamps of the RSFSR (TsFA (ITC "Marka") No. 73-85), the first definitive issue of the USSR (TsFA (ITTs "Marka") No. 99 -194) and partially - for two subsequent (CFA (ITC "Marka") No. 281 -287, 291 -295). The first art stamped postcard and stamped envelope in the USSR came out with "Shadrov" stamps. Sculptures of Ivan Dmitrievich were also reproduced on the bonds of loans and government securities of the USSR. The sculptor found the prototypes of his heroes in the village of Prygovaya (Kolganova) in the Krestovsky volost of the Shadrinsk district (now in the Iltyakovsky village council) of the Shadrinsk district). In 1923, Shadr took part in the design of the All-Russian Agricultural and Handicraft Exhibition in Moscow. His sculptures were also shown there, which were a success.
In 1924, Ivan Shadr created a natural sculpture "Lenin in a coffin", which made him the main master of the pre-war sculptural Leniniana. For 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-Avchalskaya HPP 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 is the weapon of the proletariat” (December Uprising Park, Moscow) Ivan Shadr created revolutionary romantic, generalized symbolic images, for example, the high relief “Fighting the Earth” (1922), the sculpture “Cobblestone is the 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 a tombstone for V. M. Friche. In 1934, Ivan Shadr began work on the sculpture "Girl with an oar" for the TsPKi. On 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. In the late 1950s, at the insistence of the sculptor's wife, the plaster work of I. Shadr was transferred to bronze. By the summer of 1936, I. D. Shadr created a new enlarged eight-meter sculpture from 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 its original place. The sculpture was destroyed in 1941 during the bombing. It is erroneously 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 the girl was in a swimsuit and with an oar in her left hand, made by him for the park of the Dynamo water stadium in 9361. In the late 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 erected at the Belorussky railway station in Moscow after the death of Ivan Dmitrievich by the sculptor V. I. Mukhina with the help of N. G. Zelenskaya and Z. G. Ivanova. Most of the works of I. D. Shadr (in particular, "Storm of the Earth", "Cobblestone - the weapon of the proletariat" and others) are in the Museum of Contemporary History of 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 layout 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 portrait. Honored Artist of the Russian Federation (1945), Corresponding Member of the Academy of Arts of the USSR (1958) Born in the family of an official. She studied at the School of Drawing, Painting and Sculpture by Mikhail Bernstein and Leonid Sherwood (1910-1914), worked in the sculpture workshop of Vasily Kuznetsov (1914). Since 1925 she lived in Moscow. Since 1926 he has been a 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 (gypsum, 1925), Alexander Tsyurupa (1927), Abram Efros (gypsum, 1927), Valery Chkalov (1937), Solomon Mikhoels and Vera Mukhina (both plaster, 1939), Alexander Tvardovsky (gypsum , 1943 and marble, 1950), Vladimir Tatlin (limestone, 1943-1944), Mariam Aslamazyan (1949), Konstantin Paustovsky (1956) and others. Among the best examples of Russian memorial sculpture is the tombstone of Boris Pasternak sculpted by Lebedeva at the Peredelkino cemetery (sandstone, 1965). The tombstone is a stele of strict forms with a romantic profile of the poet in the technique of deep relief. By the 40th anniversary of Pasternak's death (2000), the monument by Lebedeva, which at that time needed restoration, was replaced with 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; a master and teacher who, with his work, had a noticeable influence on the development of modern plastic art. One of the organizers, ideological inspirers and active participants in many creative associations of the first third of the 20th century. Professor: CUTR in Petrograd (1917), Academy of Arts (1918-1948; director 1932-1934). Doctor of Arts (1939). Honored Artist of the RSFSR (1931).
Vladi Mir Andreyevich Favorsky (1886-1964) Russian and Soviet graphic artist, master of portraiture, woodcuts and book graphics, art critic, stage 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). Laureate of the Lenin Prize (1962)
Lazar Markovich (Mordukhovich) Lisitsky (signed book graphics in Yiddish with the name Leiser (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. He contributed to the emergence of Suprematism in architecture.
AHRR or the Association of Artists of Revolutionary Russia (AHR - Association of Artists of the Revolution) is a group of artists that, formed in 1928, followed the ideology of the existing government. In the 20s of the last century, it was the largest association of artists, since the government itself contributed to their development and popularization.
The ideological aspirations of the representatives of this association are understandable and clear. Like many other creative professions of that time - literature, music, cinema, she tried her best to keep up with the times. Revolutionary Russia, which overthrew the tsarist government, became a very striking event and turned life in the country literally upside down. The revolution set new ideals in society. People have new "idols", values, aspirations, desires, and so on. It was these things that were recorded by the artists who were part of the AHRR community. The main subjects here were the heroic victories of the Red Army, bright moments or the life of the brightest representatives of revolutionary Russia, heroes of labor, workers and peasants, who have now become the basis of society.
Most AHRR artists followed the maximum realism, rejecting various avant-garde styles and elements. The avant-garde was rejected as harmful, anti-artistic, existing only for art, while art should have existed only for the ordinary viewer. In this sense, this association was very close to those who also promoted art for people. As a result of the merger of these two communities, the Association of Traveling Exhibitions disappeared. Also among the artists of the revolution were artists from other communities - the Jack of Diamonds, Genesis, the Four Arts, Moscow painters. The Association of Artists of Revolutionary Russia collapsed in 1932, essentially turning into something else artistic association Union of Artists of the USSR.
Want to buy a painting for yourself or as a gift, but don't know where? Buying paintings for the interior at Picture Present is very convenient and inexpensive. Picturesque still lifes in oil with home delivery.
Artists AHRR
B. Ioganson - Rabfak is coming
Brodsky - V. I. Lenin in Smolny in 1917
Brodsky - Speech by V. I. Lenin at a rally of workers of the Putilov factory in May 1917
Culture of Russia XX – early XXI century.
18. Name the chronological framework of the "Silver Age" of Russian culture: _
The Silver Age is conditionally dated to the 1890s. - the first twenty years of the 20th century
19. “In order for art to flourish, not only artists are needed, but also patrons,” wrote K. Stanislavsky. Name the names of famous Russian patrons.
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 purpose of which was the artistic and documentary depiction of the revolution:
a) Wanderers ;
b) AHR (AHRR);
d) "World of Art"
21. Founder of the battle genre in Soviet art, member of the AHRR, author of "Tachanka", "To the detachment to Budyonny", "Oxen in the plow":
a) M.V. Nesterov;
b) K.S. Petrov-Vodkin;
c) M.B. Greeks;
d) A.A. Plastov
22. The direction in Soviet art of the 1920s, whose representatives strove to construct the material world, using technical achievements, functionality, consistency and expediency of engineering and artistic solutions:
a) pseudo-realism;
b) Eclecticism; c) Constructivism;
d) Classicism
23. Complete the sentences. Alexander Nikolayevich Benois did a lot to popularize Russian art abroad____ _______________. He arranged Russian seasons in Paris. Thanks to him, Russian art has received worldwide recognition.
It was ___ Sergei Pavlovich Diaghilev ___ who introduced Russian painters to new trends in Russia ________
associations: "Jack of Diamonds". "societies of self-education", ______ "World of Art"
24. Using the resources of the Internet, listen to the final part of the "Poem of Ecstasy" (1907) by the Russian composer A.N. Scriabin. What is your overall impression of the nature of the finale's music? Write your opinion in the form of a short essay.
It was this characterization of his contemporaries that touched me. Scriabin's music is an unstoppable, deeply human desire for freedom, for joy, for the enjoyment of 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 art of the war years is characterized by laconicism, conventionality of images, clarity of silhouettes and gestures, and sharpness of the main idea:
a) Political poster;
b) Eclecticism;
c) easel painting;
d) Caricature, caricature
26. Which artist's poster is shown below:
a) A.A. Deineka; 
b) I.M. Toidze;
c) A.A. Kokorekin;
d) G.G. Ryazhsky
27. Which of the following pieces of music was not written during the Second World War?
a) "Cranes" by Frenkel and Ramzatov;
b) Malaya Bronnaya by Eshpai and Vinokurov;
c) Rachmaninoff's Second Piano Concerto;
d) Shostakovich's Seventh Symphony
28. What style, competing 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' is many-sided"
c) "Eternal Russia"
d) "Battle on the Ice"
30. Using Internet resources and reference literature, 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 of the American South (in those years, the term "jubilize" 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 immigrants from the Cotton Belt plantations. Is (along with ragtime, early jazz, hip-hop, etc.) one of the most influential contributions of African Americans to the 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 phrase English. Blue Devils often used to describe depressed mood.
The blues was formed from such manifestations as the “work song”, holler (rhythmic cries that accompanied work in the field), cries in the rituals of African religious cults (Eng. (ring) shout), spirituals (Christian chants), shant and ballads (short poetic stories).
__ragtime(English) ragtime) - genre American music, especially popular from 1900 to 1918. This is a dance form in 2/4 or 4/4 time signatures in which the bass is played on the odd beats and the chords are played on the even beats, giving the sound a typical "marching" beat; the melodic line is heavily syncopated. Many ragtime compositions consist of four different musical themes. Country, country music(from English. country music- rural music) - 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 is based on song and dance melodies brought to America by early settlers from Europe and draws on Anglo-Celtic folk music traditions. This music has long been preserved in an almost untouched form among the inhabitants of the highlands 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, starism, image, kitsch. Give examples of these phenomena
1. Thriller is a genre of works of literature and cinema, aimed at arousing feelings of anxious expectation, excitement or fear in the viewer or reader.
2. A hit is a hot commodity, a hit of the season, a synonym for a hit song) - popular for a certain period of time, a fashionable song] with a catchy melody (usually pop and also a single or in general any work of various genres that are especially popular.
3. Comic cartoon stories, stories in pictures. Comic combines the features of such art forms as literature and fine arts.
4. Starism exaggerated in the capitalist countries, the cult of celebrities, idols from the environment of pop music performers, actors, athletes. S. is an integral element of the functioning mass culture. Since the beginning of the XX century. and especially recently in the West, tendencies have been intensifying to turn politicians, observers of radio, television and the press into "stars", presenters of various programs - anchormen (from the English anshor - to anchor, fasten and man - a person), whose personal popularity is often kept on the image of a “friend”, “father” of the families of listeners or viewers created for them.
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 early standardized manifestations of mass culture, characterized by serial production and status value. Oriented to the needs of everyday consciousness
33. Using the resources of the Internet, watch a film by S.M. Eisenstein "Battleship Potemkin" (USSR, 1925) Write a review of the film you have watched.
The sailors of one of the battleships standing in the roadstead of Odessa rebelled because they were trying to feed them with wormy meat. The instigators of the riot are sentenced to death, however, during the execution of 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 fight.
The population of Odessa flocks to the funeral of Vakulenchuk and supports the crew of the revolutionary ship. The summoned government troops mercilessly shoot civilians on the famous Odessa stairs.
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 picture ends with a frame in which the armadillo seems to “float out of the film” into the hall.
The film is brilliant and is rightfully considered one of the best of all times and peoples.
34. Choose the correct statement.
A) Kitsch is a synonym for pseudo-art, which belongs to the lowest layers of mass culture.
C) Kitsch is the highest form of manifestation of artistry in art.
35. Using Internet resources and reference literature, describe some popular genres of modern cinema: fantasy, detective, horror film, disaster film, war film, thriller, melodrama, action movie, western, musical, comedy, soap opera. Fill in the proposed table:
|
Genre name |
Definition |
Movie title |
Director |
|
1.Fantasy |
a genre of fantasy literature based on the use of mythological and fairy tale motifs in the fantasy genre. In cinema, this is a film adaptation of books, comics (manga) or based on them. |
Stardust, Lord of the Rings |
Matthew Vaughn, Peter Jackson |
|
2.Detective |
A literary work or movie depicting the adventures of detectives. |
"Sherlock Holmes" |
Guy Ritchie |
|
3. Horror movie |
genre of feature film, horror. |
"Rosemary's Baby" |
Roman Polanski |
|
4. Disaster movie |
a film whose characters are in a disaster and are trying to escape. A specific kind of thriller and drama. It can be 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, characterized by the theme of war. It is these films that are distinguished by the presence of paintings 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 |
Action-packed thrilling work of art |
"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 |
Thrilling adventure movie |
"Agent 007" |
Sam Mendes |
|
9. Western |
Movie or literary work adventure genre about the life of the first settlers of the American West. |
"Dancing with Wolves" |
Kevin Costner |
|
10. Musical |
A musical performance or comedy film using pop, operetta and ballet elements. |
"Across the Universe" |
Julie Taymor |
|
11. Comedy |
A work with a cheerful, funny plot, usually ridiculing social or domestic vices, as well as presenting it on stage. |
"Always say yes" |
Peyton Reid |
|
12. Soap Opera |
one of the genres of television series, which is distinguished by the consistent presentation of the storyline in episodes of series on television and radio. |
"Desperate Housewives" |
Art groups, associations of artists of the 19th-20th century. Abramtsevsky (Mamontovsky) art circle- so called "Abstraction - Creation"-- international union "Red rose"-- an association of Moscow painters of the symbolic Artel of artists(St. Petersburg Artel of Artists) -- Association of New Architects (ASNOVA)- the first in the post-revolutionary Fine Art Workers Association (ARIZO)-- was Association of Artists of Revolutionary Russia (AHRR; from 1928 -- Association In the 1920s The association gained an increasing number of supporters, The main activity of the AHRR in the 1920s. have become exhibitions. Behind In 1924, the publishing department of the AHRR was created, which published "Bauhaus" (German. Bauhaus - house of construction) - art educational "Tower"-- an art studio with that name existed in "Jack of Diamonds"-- an association of Moscow painters, a leading start The artists of the association are characterized by pictorial and plastic searches in At the exhibitions of the "Jack of Diamonds", in addition to paintings by members of the association "Being"- an association of Moscow artists, founded in 1921. "Wreath"-- a short-term exhibition association, which included "Gilea"-- literary and artistic association of cubo-futurists, "Blue Rose"- an association of symbolist artists, "Fire Color"- an association of painters and graphic artists, founded in Moscow in "Golden Ratio" (French. "Section d"Or") -- artistic "Isograph"-- trade union of Moscow artists, founded on 14 The members of "Izograf" aimed to protect the professional interests "Circle of Artists"- an association of painters and sculptors, The association organized three major reporting exhibitions (1927, Since the formation of the Circle of Artists, its members have embarked on the path Circle of lovers of Russian fine publications- originated in St. Petersburg in 1903 Culture League- the center of Jewish culture in Ukraine. Organized in Left front of art (LEF; from 1929 -- Revolutionary Front of Art -- In the 1920s LEF ideas had a great resonance and distribution in the environment In the late 1920s The association dealt mainly with "Shop"-- exhibition association of Moscow and Petrograd "Makovets"(until 1924 -- Union of Artists and Poets "Art is Life") Since 1922, members of the association published the magazine "Makovets" (edited by A. The weakness of the association was the lack of common creative guidelines, "Masters of Analytical Art" (MAI)-- association of young Throughout the existence of the association, its composition has changed. In general The creative method of combining was based on the principles developed by For the first time, the association announced itself with a significant exhibition shown in Despite active creative activity and absolute loyalty "Method" is an art association founded in 1922. The first exhibition of "projectionists" was held in 1922 at the Museum of Painting The Method group existed until 1925, when all its members, for "World of Art"-- an art society founded in 1898 in The first public action of the association was the "Exhibition of Russian and Under the auspices of the magazine "World of Art", art Since 1910, a new, second stage in the history of the association "Mir "Target"-- a major exhibition of a group of Moscow artists, held in Art associations, societies, partnerships, groupings, unions, exhibitions
"41°" (Forty-one degrees) Abramtsevo circle Entreprise of S.P. Diaghilev AHRR-AHR - Association of Artists of Revolutionary Russia, since 1928 - Association of Artists of the Revolution "Bauhaus" "Combat Pencil" "Jack of Diamonds" "Wreath" ("Stefanos") Vienna "Secession" "0.10"Exhibition "Zero-ten". The last exhibition of cubo-futurism, organized by Moscow artists on the initiative of I. Puni. It was opened on December 17, 1915 in the Petrograd Art Bureau of N.E. Dobychina on the Field of Mars. The name of the exhibition "Zero-ten" (not "one tenth") is associated with the manifesto "Suprematism" by K. Malevich and his associates, printed for the opening of the exhibition. From a letter from K.S. Malevich on May 20, 1915: “We are planning to publish a magazine and begin to discuss how and what. In view of the fact that we are going to reduce everything to zero in it, we decided to call it “Zero”. for zero "(quoted from the catalog "Kazimir Malevich". Works from the museums of Moscow, Leningrad, Amsterdam. 1989", City Museum of Amsterdam, 1989, p. 157). with K. S. Malevich. Almost all of them were exhibitors of the first cubo-futuristic exhibition "Tram B" (March-April 1915). The exhibition was attended by N. Altman, K. Boguslavskaya, M. Vasilieva, V. Kamensky, A. Kirillova, I. Klyun, M. Menkov, V. Pestel, L. Popova, I. Puni, O. Rozanova, V. Tatlin, N. Udaltsova K. S. Malevich presented 49 non-objective paintings at the exhibition, among which was the famous "Black square" (1914-15) as a visible manifesto of Suprematism. At the exhibition, for the first time, the term "Suprematism" was publicly used. Exhibition "0.10" was charitable, in favor of the wounded in the Petrograd infirmaries. "41°" (Forty-one degrees)The name of a group of futurists, writers and artists that arose in Tiflis in 1918. The group included A. Kruchenykh, I. Terentyev, I. Zdanevich, K. Zdanevich, who organized the release of the weekly newspaper "41 °" and the publishing house. In 1919, the first issue of the newspaper came out in the summer, the editorial of which said: "Company 41 ° unites left-bank futurism and affirms absurdity as an obligatory form of art embodiment." Under the auspices of the group, a collection of poems dedicated to S.G. Melnikova, decorated with collages, was released. "5x5=25"The name of the painting exhibition held in Moscow in September 1921. Five artists presented five abstract works each for the exhibition: Warst (V.Stepanova), A.Vesnin, L.Popova, A.Rodchenko, A.Exter. V.Stepanova exhibited the works of 1921, A.Vesnin - the construction of a color space along lines of force, L.Popova - experiments in pictorial-power constructions, A.Exter - plane-color compositions. Among the works of A. Rodchenko was exhibited "Line" (1920), and "Color constructions" (1921). One of the visitors of the exhibition was VE Meyerhold, who decided to use the works as theatrical scenery. The exhibition became a turning point in the development of the avant-garde Russian constructivist theater and in the career of L. Popova. Meyerhold invited Popova to his Higher Theater Workshops to give lectures on a course in volumetric scenery. At the same time, a series of lectures were given at INHUK on the occasion of the exhibition. Abramtsevo circleAssociation of the largest representatives of Russian artistic culture of the second half. XIX century, which arose in the early 1870s. around the figure of the famous Russian philanthropist merchant Savva Ivanovich Mamontov on the basis of his estate in Abramtsevo. S.I. Mamontov (1841, Yalutorovsk, Yakutia - 1918, Moscow) belonged to the circle of Russian merchants and industrialists, whose contribution to Russian art and culture is immeasurable (M.P. Botkin, I.A. Morozov, S.I. Shchukin and etc.). The most important phenomena of Russian culture of the second half are associated with the name of S.I. Mamontov. 19th century - Abramtsevo Circle and the Moscow Private Russian Opera. In 1870, Mamontov bought the estate of S.T. Aksakov "Abramtsevo" near Sergiev Posad (Zagorsk - in the years Soviet power), near Moscow. For a quarter of a century, the flower of the Russian artistic intelligentsia has been its guests and residents. The first original Russian artistic colony was formed here, similar in the Western culture of this period to Pont-Aven in France, Worpswede in Germany. The members of the circle were M.M.Antokolsky, V.M.Vasnetsov, M.A.Vrubel, K.A.Korovin, S.V.Malyutin, M.V.Nesterov, N.V.Nevrev, V.D.Polenov , I.S. Ostroukhov, I.E. Repin, V.A. Serov, V.I. Surikov, F.I. Mamontov, in which the main place was occupied by the idea of the revival of national art, the cult of the universalism of the artist. In Abramtsevo, practical steps were also taken towards the preservation and revival of handicrafts. In 1882, E.D. Polenova organized a wood carving workshop that made furniture and household items with flat-relief carving (Abramtsevo-Kudrinsky style). At the same time, pottery workshops were opened, where M.A. Vrubel created his ceramic masterpieces - majolica sculpture. In Abramtsevo, a manor ensemble of chamber buildings in the "Russian style" was created (V.M. Vasnetsov, I.P. Ropet, Samarin). The Abramtsevo (Mammoth) circle expressed a very characteristic feature of European culture at the end of the 19th century. - striving for a holistic artistic environment. Entreprise of S.P. DiaghilevS.P. Diaghilev (1872-1929) - Russian theatrical figure, art critic, talented organizer of theatrical business in Russia and France. D. organized in Paris the annual seasons of Russian art (opera - from 1908, ballet - from 1909), which accumulated the latest achievements of Russian music, painting, poetry, choreography and reflected the intensity of the artistic culture of Russia in those years. Opera and ballet performances by the group of S.P. Diaghilev were designed by the largest Russian artists - A.N. Benois, L.S. Bakst, A.Ya. Golovin, N.S. Goncharova and others. Entreprise (fr. entreprise) - an enterprise, in the theater - a private theater group. Artel of artists - Saint-Petersburg artel of artists.The first association of democratically minded artists in Russia. Founded in 1863 by graduates of the Imperial St. Petersburg Academy of Arts, who left the Academy in protest against the obligatory academic competition program (the so-called "rebellion of fourteen"). Those who left the Academy of Arts formed a household commune, which helped artists to solve creative issues. The charter was approved in 1865. Artel was headed by IN Kramskoy. It included: B.B. Venig, A.K. Grigoriev, N.D. Dmitriev-Orenburgsky, F.S. Zhuravlev, A.I. Korzukhin, V.P. D. Litovchenko, K. E. Makovsky, A. I. Morozov, M. I. Peskov, N. P. Petrov, N. S. Shustov. Artel played an important role in the formation of a democratic direction in Russian art of the second half. 19th century Broke up at the beginning. 1870s, predetermined the creation of the TPHV. Many members of the A. became active participants in the movement of the Wanderers. ASNOVA - Moscow Association of New ArchitectsThe first creative grouping of Soviet architects, the organizer and theorist of which was N.A. Ladovsky. Main in 1923 as teachers of VKhUTEMAS. The program is based on a rational approach to art. problems of architecture, the creation of new expressive and sharply rhythmic architectural forms based on the latest building materials(metal, concrete, cement). The architects of the Association dealt with the problems of psycho-physiological perception of color, volume, space, as well as the problems of synthesis of plastic arts. On the initiative of ASNOVA, lectures were given at VKHUTEMAS on the main types of spatial forms and architectural and artistic composition. The Association has completed a number of brilliant works for international competitions. ASNOVA members were A.M. Rodchenko, B.D. Korolev, V.F. Krinsky, N.V. Dokuchaev, A.M. Rukhlyadev, A.F. Loleit and others. In 1930 the Association joined the All-Union Architectural Scientific Society. AXPP-AXP - Association of Artists of Revolutionary Russia, since 1928 - Association of Revolutionary ArtistsA mass association of Soviet artists that arose in 1922 on the basis of the Association for the Study of Modern Revolutionary Life (founded in 1920). It arose as the opposite of the "left" groups of the avant-garde. It set the task of bringing art as close as possible to the needs of the proletarian spectator, stood on the positions of a real reflection of Soviet reality by artistic means understandable to the people. Artists AHRR the slogans of "artistic documentaryism" and "heroic realism" were put forward. In general, it relied on the traditions of the TPHV. The association included former members of the Society for Contemporary Art, the Union of Artists, as well as a number of young painters who had mastered the realistic school of the older generation of masters. AHRR had 40 branches in the RSFSR and other republics. She organized 72 exhibitions throughout the country, as well as abroad. The association played a big role in promoting art among the masses. A.V.Grigoriev, B.N.Yakovlev, P.M.Shuhmin, E.A.Katsman, S.V.Malyutin, M.I.Avilov, A.E.Arkhipov, V.N.Baksheev were members of the AHRR , F.S. Bogorodsky, I.I. Brodsky, V.K. Byalynitsky-Birulya, A.M. Gerasimov, M.B. Grekov, B.E. Efimov, B.V. , B.M. Kustodiev, V.N. Meshkov, A.V. Moravov, E.M. Cheptsov, K.F. Yuon, V.N. Yakovlev and others. up to three hundred. In 1928-31, the influence of the OMAHR, which stood on the positions of Proletkult, increased in the AHR. Many artists left the Association, a number entered the RAPH. It existed until 1932. The central organs were located in Moscow and Leningrad. "Bauhaus""Bauhaus" (Bauhaus) - Higher School of Construction and Artistic Design (Hochschule fur Bau und Gestaltung) - an educational institution and artistic association in Germany. Main in 1919 by the architect W. Gropius in Weimar, in 1925 it was transferred to Dessau. In "B." finally formed the principles of functionalism and rationalism. "B." played an important role in the development of modern art design. In "B." the foundations of design, industrial creativity were developed. In the production workshops of the institute, architectural designs of typical living quarters were created using new industrial materials, projects and models for the mass production of furniture, fabrics, lamps, and dishes. In "B." major functionalist architects (W. Gropius, H. Meyer, L. Mies van der Rohe), design pioneers (J. Itten, L. Moholy-Nagy), artists (W. Kandinsky, P. Klee, L. Feininger, O. Schlemmer). Banned by the Nazis in 1933. Its most prominent figures - V. Gropius, L. Moholy-Nagy, L. Mies van der Rohe - emigrated to the United States and laid the foundation for the spread of design on a global scale. "Combat Pencil"Association of Leningrad artists, osn. in 1939-40, 1941-45, which arose with the aim of reviving the "ROSTA Windows". It produced lithographed political posters and satirical drawings. During the years of the Great Patriotic War of 1941-45, posters in the style of a traditional popular print with propagandistic rhyming texts, political cartoons played a significant role in strengthening the patriotism of Russian people both in the rear and at the front, especially in besieged Leningrad. In the work "B.k." artists I.S.Astapov, G.S.Vereisky, V.I.Kurdov, N.E.Muratov, G.N.Petrov, V.A.Serov, N.A.Tyrsa and others took part. in 1956, in 1992 - reorganized. It produced posters and drawings on international and everyday topics. "Jack of Diamonds"Society of Artists "Jack of Diamonds". Association of Moscow painters. It arose in 1910. It got its name from the exhibition of the same name, organized in the same year. The initiators are a group of artists who rejected both academicism and realism, as well as symbolism in Russian art. The society arose as a reaction to conflicting trends in Russian painting at the beginning of the 20th century. The charter was published in 1911. Founding members: brothers V. and D. Burliuk, P.P. Konchalovsky, A.V. Kuprin, A.V. Lentulov, I.I. Mashkov, V.V. Rozhdestvensky, R.R. .Falk, A.A. . Ideological origins - the so-called. "Russian Cezanneism", Russian folk art (lubok, icon, tile, murals, trade signs, etc.). The main genres are still life, landscape, portrait. A number of artists who were affiliated with "B.V." in different years (N.S. Goncharova, V.V. Kandinsky, M.F. Larionov, K.S. Malevich, M.Z. Chagall) gravitated towards cubism, futurism and expressionism. In 1912 they left B.V. and organized the Donkey's Tail exhibition. In 1916 the main core of the "B.v." entered the "World of Art". In 1917, the society finally disintegrated. Some of its members founded the association "Moscow Painters" (1925), which was part of the OMC. Exhibitors of exhibitions "B.v." in 1910-16 there were also J. Braque, M. Vlaminck, A. Derain, F. Leger, A. Matisse, P. Picasso, P. Signac. "Wreath" ("Stefanos")A group of young Moscow artists who first united around Mlarionov in 1907-V. and D. Burliuki, V. Rozhdestvensky, N. Goncharova, A. Lentulov, A. Fonvizin, P. Bromirsky, L. Shturtsvage (Syurvazh) and others. The first exhibition "Stefanos" was held in the building of the Stroganov School in Moscow in December 1907. It was attended by members of the "Blue Rose" P. Utkin, N. Sapunov, N. Krymov. In March 1908, the group organized the exhibition "Wreath" in St. Petersburg (A. Gaush, P. Kuznetsov, M. Larionov, A. Matveev, V. Milioti, M. Saryan, P. Utkin, A. Fonvizin, A. Yavlensky and others. ). In April 1908, V. and D. Burliuks and A. Lentulov participated as Moscow representatives of the "Wreath" in the exhibition "Modern trends in art" in St. Petersburg, organized by N. Kulbin. The last time the exposition of the works of "Wreath" was shown at the beginning of 1909 in St. Petersburg and in September - in Kherson. Participants: V. and D. Burliuk, A. Lentulov, A. Yavlensky, A. Exter, V. Baranov, P. Gaush. The symbolism of a number of authors was steadily combined with the tendency towards cubo-futurism. Vienna "Secession"Secession (German Sezession, from Latin secessio - departure, separation) - the name of a number of European (mainly Austrian and German) art associations of the late XIX - early XX centuries, representing new trends in contemporary art as opposed to academicism. Known for "Munich S." (foundation 1892), "Berlin S." (foundation 1892). The "Viennese Secession" (founded in 1897) united representatives of the Austrian Art Nouveau ("Secession Style"). The society published the magazine "Ver Sakrum" (symbolists G. von Hofmannsthal, R. M. Rilke). Members of the society - major painters G. Klimt, E. Schiele, architects O. Wagner, J. M. Olbrich, J. Hofman. The Society organized a number of exhibitions in Vienna, contributed to the establishment of the Art Nouveau style as the leading one in all genres and types of art at the turn of the century. Non-Party Society of ArtistsFounded in St. Petersburg (1912-17). The motto of the Society is: "United Free Art". In 1913-14 held three exhibitions. More than a hundred St. Petersburg and Moscow artists were represented at the exhibitions, including P. N. Filonov (1913). The society consisted mainly of young students. Free Society of Lovers of Literature, Science and ArtsMain in 1801 in St. Petersburg. It arose as a result of the development of Russian social thought in the beginning. 19th century In the forefront - the study and promotion of national history, literature and art. Aspired to attract Russian artists to patriotic subjects and themes of Russian history. The enlightenment orientation of the Society is connected with the ideas of an enlightened monarchy. The Society participated in the organization of the first Russian archaeological expeditions. The problems of the theater were widely discussed at the meetings. In the early period of its existence, the Society actively participated in the artistic life of the country and influenced the development of all types of art. Among the Ob-va, the idea of creating a monument to Minin and Pozharsky in Moscow arose. The members of the Society were writers, philosophers, scientists, poets A.F. Merzlyakov, I.P. Pnin, A.Kh. Vostokov, I.M. Born, A.L. Benitsky, historical painters A.I. Ivanov, F.F. Repinin, sculptors I.I. Terebenev, I.P. Martos, architect I.I. Galberg. In 1805, the President of the Academy of Arts, A.S. Lasted until 1807. "Gilea""Gilea" is the most consistent and active artistic and literary grouping of Russian futurism. Main in 1910. The name originates from the ancient Greek name of the lands near Kherson, at the mouth of the Dnieper, where in those years the parental home of V. and D. Burliukov was located in the Chernyanka estate. Members of "Giley" - brothers Burliuks, E.G. Guro, V.V. Mayakovsky, V.V. Kamensky, A.E. Kruchenykh, B. Klivshits, V.V. Khlebnikov In 1913 the group joined the Youth Union as a literary section. "Blue Rose"A short-term art association that arose in Moscow in 1907 on the basis of an exhibition of the same name, organized by the Golden Fleece magazine in the same year. In total there were two exhibitions "GR." - in 1907-08. The society united Moscow artists, connected by the ideas of symbolism, by the common decadent worldview of the 1900s. In the formation of the style "G.R." the work of V.E. Borisov-Musatov played an important role. For artists "G.R." decorative stylization, mystical-symbolist tendencies were characteristic. They appeared in the typical "G.R." surreal-romantic landscapes ("landscape-dream", "landscape-memory"), still lifes of an experimental nature, self-sufficient colors, emphasized aestheticism, deliberate strangeness, in breaking the logical connections between the real world and creative imagination. The members of the association were N.P. Krylov, P.V. Kuznetsov, A.T. Matveev, V.D. and N.D. Milioti, N.P. Ryabushinsky, N.N. Sapunov, M.S. Saryan, S.Yu. Sudeikin, P.S. Utkin, A.V. Fonvizin and others. "Group of Twenty" ("Les Vingt")Main in 1884 in Brussels a little earlier than the "Group of Independents". The purpose of the association of artists is to popularize new, non-standard art, organize exhibitions of artists who have escaped from academic captivity, concerts, lectures. The group included twenty young artists either native to Belgium or living in it (James Ensor, Willy Finch, Theo van Rysselbergh). Had a charter. The artists of the group did not adhere to certain doctrines and pursued one goal - the organization of annual exhibitions and the identification of the most significant phenomena of contemporary art. The group was popular among "leftist" artists. Rodin, Monet, Renoir, Redon, Monticelli took part in the exhibitions of the group; J.Seurat, P.Signac, Dubois-Pillet, A.Cross, Berthe Morisot, Sickert exhibited with the group. The secretary of the group was the Belgian lawyer Octave Maus, who, together with Emile Verharn, published the weekly L "art moderne", where the most important articles on neo-impressionism were published. In 1888, some members of the group switched to neo-impressionism and participated in the activities of the Society of Independents - Willy Finch, Theo van Rysselbergh, Henri van der Velde, Georges Lemmen, Louis Anquetin The artists of "Les Vingt" are characterized by experiments in the field of painting technique, which was natural in an era of great scientific and industrial achievements and reflected the general trend of the era. Group "Wing"Founded by a group of Moscow artists, b. members of the Genesis association, headed by A.S. Osmerkin in 1927. In the same year, she joined the OMC. "Group of Independents" ("Society of Independent Artists")Association of young French artists. It arose in Paris in 1884 in protest against the decision of the jury of the official seasonal Salon of this year, which rejected the painting by J. Seurat “Bathing in Asnieres”. The picture was painted according to his new optical-color technique. The founders of the group are Dubois-Pillet and J. Seurat, who was its soul and main ideologist. Vice President - Odilon Redon (subsequently retired). Over the years, the group included Atiyomen, Camille and Lucien Pissarro, P. Signac, Angrand, A. Cross, Gosson, Lemmen, Luce, Ptizhan, Maurice Denis, Valloton, Emile Bernard, Gachet (Van Gogh's doctor), and also the Belgians Theo van Risselberg, Finch, the Spaniard Dario de Fegoya, the Dane Willumsen and others. The group organized a number of exhibitions of artists of new trends and, above all, neo-impressionism. These exhibitions became the central event of the Parisian art seasons. 1880s-1900s Toulouse-Lautrec participated in the exhibitions of the "Society of Independents" ("Salon of Independents"); in 1888 W. van Gogh took part for the first time. The "Society" also organized the first posthumous exhibition of V. van Gogh, for the first time evaluating the significance of the works of the great artist (1891). In the beginning. 1890s the group began to show signs of disintegration, despite the replenishment of young artists (a total of 1250 works were exhibited in the Salon des Indépendants in 1891). Main printed organ - the magazine "La Revue independante" (1884). Group of "Independent"Group of Moscow artists, osn. not earlier than 1907. Certain aesthetic program Did not have. It was created with a specific practical practical purpose - to organize the artist. exhibitions, regulate exhibition activities. In 1907-12, 6 N. exhibitions were held, in which up to 75 artists simultaneously participated. The group included N.S. Goncharova, I.M. Grabovsky, A.I. Kravchenko, K.S. Malevich, N.P. Ryabushinsky, N.A. Ferdinandov and others. "Projectionist" groupA group of students of VKhUTEMAS and its graduates first announced themselves in 1922, organizing the "Projection Theater" within the walls of VKhUTEMAS. At the same time, young artists participated in an exhibition at the Museum of Fine Arts in 1922. The works were to be exhibited in Berlin and Paris, but the exhibition opened in 1923 in Amsterdam. Both the theater and the artists, reflecting all the diversity of currents within the avant-garde, were in opposition to the Suprematism of K. Malevich and the constructivism of A. Rodchenko and V. Tatlin. In connection with the exhibition works, K. Redko published the "Declaration of the Electroorganism" (1922), outlining the basic principles of the direction he invented, which were declared by all members of the "projectionist" group. The activities of the group reflected the opposition of its members to the program settings of those artistic associations that advocated new life easel painting (primarily OST). These contradictions were reflected in the "1st Discussion Exhibition of Active Revolutionary Art", which opened in Moscow on Tverskaya Street in May 1924. The work of seven groups was presented. The group "Method (projectionists)" was the largest in terms of the number of exhibited works. It included S. Luchishkin, S. Nikritin, M. Plaksin, K. Redko, N. Tryaskin, A. Tyshler and others. Their works demonstrated a complete rejection of easel art, the authors sought to convey complex physical phenomena that have become the property of civilization by means of painting as a result of scientific and technological progress. From a pictorial point of view, the paintings were of a formal-analytical nature. By the opening of the exhibition "1st Discussion..." S. Nikritin published a declaration of the group "Method (Projectionists)". It was an experience of abstract engineering, like possible direction evolution of the avant-garde. According to the theory of projectionism, the artist only draws up sensations, produces projections of the work, on the basis of which any person can create works in a school or laboratory. In 1922-23, K. Redko created a large series of paintings and drawings under the general name "Electroorganism", in which he expressed his enthusiastic attitude to the achievements of the scientific and technological revolution. In essence, it was a pictorial-emotional formula of technical concepts and physical-optical phenomena. The originality of the group's activities was determined by the exceptional novelty of the theme in "leftist" art. In 1924, the so-called. "concretivists" - P. Williams, K. Vyalov, V. Lyushin, Yu. Merkulov, G. Miller, A. Mirolyubova, L. Sanina, A. Gan, O. and G. Chichagov, N. Smirnov. In 1925 both "projectionists" and "concretivists" joined the OST. Blue Rider Group (Munich) - Blauer ReiterIn 1911, in Munich, artists close to expressionism, on the initiative of V.V. Kandinsky and Franz Marc, united in the Blue Rider group. Its members were A.Makke, G.Munter, P.Klee, F.Delaunay and others, among them Russian artists A.G.Yavlensky, M.V.Verevkina, brothers V. and D. Burliuk. The group formed the positions of abstractionism as a new trend in European and Russian painting. The group published an almanac of the same name, held a number of exhibitions in Munich and Berlin. It existed until 1914. Some members of the group later collaborated in the Bauhaus (W. Kandinsky, P. Klee). Group "Style" (Holland) - "De Stijl" (Dutch. De Stijl)Avant-garde association of Dutch architects and artists. It took shape in 1917 in Leiden on the basis of the magazine of the same name. She put forward the theory of neoplasticism, which played a significant role in the development of design (the rejection of figurativeness, an appeal to a pure art form). Representatives of "S." created in painting the so-called. a geometric variety of abstract art (P. Mondrian, T. van Dusburgh, G. Rietveld). In architectural developments, the group "S." was close to the Bauhaus, the principles of functionalism. The group (movement) "Style" reflected that turning point to non-objectivity, which became decisive in the 1910s for European painting. The group included P. Mondrian, R. Delone, Kupka, Russell, Macdonald-Wright and others. It broke up in 1931. Group Δ"(Triangle)"An artistic group of "leftist" youth, organized in 1908 in St. Petersburg on the initiative of N. Kulbin, who throughout the entire period of its existence was the ideologist and leader of the group. The group was characterized as "artistic and psychological", engaged in exhibition activities, promoting new trends in painting, theater, and literature. It united neo-impressionist artists and futurists. Members: E. Guro, M. Matyushin, E. Spandikov, I. Shkolnik, S. Shleifer and others. In November 1909, members of the Δ (Triangle) group joined the Youth Union, although they continued to hold exhibitions on their own. The group existed until 1910. It first made itself known at the 1908 exhibition in St. Petersburg "Modern trends in art", which presented artists of all areas of art of this period: from "academicists" to "impressionists". In 1908, the first book by E. Guro "The barrel organ" was published with drawings by N. Lyubavina. Members of the group "D (Triangle)" took part in the exhibition "Impressionists" in St. Petersburg in March 1909, organized by N. Kulbin. In the same year, N. Kulbin organized an exhibition in Vilna "The Impressionists - D (Triangle)", which was also exhibited in St. Petersburg. In March-April 1910, the last, third exhibition of the group of N. Kulbin, united with the group of D. Burliuk "Wreath-Stefanos" (Petersburg), was held, at which the works of N. Kulbin, V. and D. Burlyukov, N. Evreinov, A. Exter, E. Guro, K. Dydyshko, V. Kamensky, M. Matyushin and self-taught peasant Pavel Kovalenko. At the exhibition, there was a controversy between the futurists and the Union of Artists, started by D. Burliuk's leaflet "About the "artistic letters" of Mr. Benois." The exhibition was timed to coincide with the publication of a book edited by N. Kulbin "Impressionist Studio" (St. Petersburg, 1910), in which the poems of V. Khlebnikov, the Burliukov brothers, were first published. N. Kulbin devoted an article of the same name to the group "Δ (Triangle)" in the catalog of the "International Art Exhibition", which opened in the second salon of V. Izdebsky in Odessa in December 1910-January 1911. Group "Thirteen"It was named after the number of participants in the first exhibition in 1929 in Moscow. In total, she organized several exhibitions (1929, 1930, 1931), of which the first and third were exhibited. There were a total of twenty-one members of the group. The group united graphic artists (mostly). There was no definite program, manifesto, or declaration. Artists "T." were fond of impressionism, loved Marche, cultivated the "French" lightness of painting and drawing. The decisive role in uniting the group was played by N.V. Kuzmin and V.A. Milashevsky. The latter belongs to the thesis, which is fundamental for the group, about the tempo of a full-scale drawing, executed on a single emotional impulse, according to the first impression, without amendments that reduce the freshness of the first feeling. They denied a naturalistically descriptive trend in graphics. Members of the group: O. Hildebrandt, D. Burliuk, D. Daran, A. Drevin, L. Zevin, S. Izhevsky, sisters Kashina, T. Lebedeva, T. Mavrina, M. Nedbaylo, S. Rastorguev, B. Rybchenkov, A.Sofronova, Ch.Stefansky, N.Udaltsova, Yu.Yurkun, V.Yustitsky and others. The activity of the group was terminated in 1931, its members were declared formalists. Group "Falanga" (Munich)A group of "leftist" artists - Germans, Russians, Swiss. It originated in Munich in 1901. VV Kandinsky was a member of the group. In his work, the influence of the symbolist traditions of Böcklin, Rosseti, Segantini, Art Nouveau is palpable, and interest in the plotless ornamentation of forms, in the "gesture" of the line, and the symbolism of color is noticeable. "Fire Color"Society of Moscow Artists. united painters. Arose in 1923 with the aim of continuing the traditions of the "World of Art". Therefore, the work of the members of Zh.-ts. noticeably gravitate towards the style of the "World of Art" against the backdrop of a general high pictorial culture, masterful drawing. The society organized exhibitions in 1924, 1925, 1926, 1928 and 1929. Members Zh.-ts. would have been members of the "World of Art" (K.F. Bogaevsky, M.A. Voloshin, M.V. Dobuzhinsky, N.E. Radlov, A.P. Ostroumova-Lebedeva, V.D. Falileev and others) and the Moscow Salon society "(M.A. Dobrov, I.I. Zakharov, A.E. Miganadzhian, M.E. Kharlamov and others). Broken up in 1929. "Zorved"Association of students of M.V. Matyushin. The first exhibition at which the group declared itself was the "Exhibition of paintings by Petrograd artists of all directions. 1919-1923" held in the halls of the Academy of Arts in Petrograd in September 1923. Various associations were presented at the exhibition - UNVIS, Proletkult "Zorved", etc. In connection with An exhibition in the journal Life of Art N 20 (1923) published the declarations of P. Filonov, K. Malevich, P. Mansurov and M. Matyushin. The latter's article was called "Not art, but life" and made up the manifesto of the Zorved group. The group, which declared itself in 1923, was actually organized in 1919. The name is composed of the words "zor" (look, vigilant) and "ved" (vision, to know). The association included graphic artists and painters: And Walter, S. Vasyuk, O. Vaulina, N. Grinberg, V. Delacroa, E. Magaril, N. Kostrov, E. Khmelevskaya, B., G., M. and K .Enders and others. Matyushin's group outlined new way avant-garde painting of the 1920s She sought to combine the synthesis of new spatial representations with living natural sensations Matyushin developed the ideas of "extended looking" in painting, which were embodied in the works (watercolors) of his students. Matyushin's school introduced its pictorial system. Studies have shown that two colors give birth to a third. Matyushin called it "color-linkage" that occurs between the color "environment" and the "primary color". The results of this work (completed in the circle of the Zorvedists) were published in the Color Handbook (1932, 400 copies). The Handbook was actively used in practice both by painters and during construction and restoration work. The group broke up in 1926 in connection with the liquidation of GINHUK, where Matyushin and his group dealt with color problems. The activities of the group "3." on the basis of GINHUK - the first world experience of a scientific approach to solving and studying the problem of color. Painting school Matyushina opened a new facet of the Russian avant-garde. "Isobrigades"An art association that arose in 1932 in Moscow on the initiative of members of the OST-20 group - b. OST members. The association, in its program settings, duplicated the LEF. "Ring"An art group that arose in Kyiv in the circle of Ukrainian and Russian artists, carried away by new reformist trends in Russian painting. AAExter played an important role in organizing the group, and thanks to its extensive contacts in the West, it contributed to the dissemination of the ideas of contemporary art in Russia. The Ring exhibition of the same name took place in May 1914 at the Kiev Polytechnic Institute. The works of E.Monastyrskaya-Bogomazova, Udod, Barto de Marni, MDenisov K.Maltsev, B.Pastukhov, A.M.Buzinny were presented. The exhibition was attended by Christian Kron, Sara Shor, graphic artists I. Rabinovich and Nisson Shifrin. A. Bogomazov showed his first works for the first time. In general, the exhibition works were painted in a manner that combines the principles of cubism and futurism. The exhibition had a good press in the person of N. Kulbin and A. Floregger, who characterized the exhibition as "a new word in the artistic life of Kiev" and noted the "tremendous significance" of this exhibition for Kiev (magazine "Muses", N 5, 1914: Kiev, p. 5-8). "Circle of Artists"The art association, formed in Leningrad in 1925, organized in 1926. Founded by graduates of the VKhUTEIN in 1925, students of A.E. Karev, A.I. Savinov, K.S. Petrov-Vodkin, A.T. Matveev. Creative Leningrad youth joined them. The Charter (1926) and two declarations were published - in 1926 and 1930. The association sought to develop professional qualities and solve creative problems "as opposed to dilettantism and hack work." The program task was to express "a new understanding of life and feeling in pictorial and plastic images adequate to the era", to create the style of the era in painting and sculpture (in the book: Soviet Art for 15 Years. Materials and Documentation. M.-L., 1933 p. 322). In general, the works of the members of the association are characterized by monumentalism and generalization of forms, and the influence of expressionism is felt. For several years of its existence, "K.Kh." brought together more than forty members. Among them: V.V. Pakulin (Chairman), L. Britanishsky, A. Vedernikov, M. Verbov, L. Volshtein, T. Gernet, V. Denisov, N. Emelyanov, E. Zabrovsky, D. Zagoskin, A. Zaitsev, G.Ivanov, B.Kaplyansky, V.Kuptsov, T.Kuperwasser, G.Lagzdyn, V.Malagis, N.Mogilevsky, I.Orekhov, P.Osolodkov, A.Pakhomov, E.Petrova-Troitskaya, A. Povenenny, A. Rusakov, A. Samokhvalov, N. Svinenko, G. Traugot, M. Fedoricheva, S. Chugunov and others. Exhibitions were held in 1927, 1928, 1929, 1930 (in Kyiv). Exhibitions were also held in working and creative clubs, palaces of culture. In 1929 in "K.Kh." there was a split and by 1930-32 the association broke up. Some of the artists went to the AHR and "October". Circle of M.K.TenishevaMaria Klavdievna Tenisheva (1867-1928), nee Pyatkovskaya. Graduated vocal school Marchesi in Paris. She studied at the CUTR in St. Petersburg. In Paris, she attended the popular R. Julien Academy, studied with Benjamin Constant and Jean-Paul Laurens. A wonderful collector of Russian folk art, a great Russian philanthropist. In the 1890s, at her own expense, she opened an elementary drawing school in Smolensk and a school in St. Petersburg, which was often called the "Tenishevskaya workshop of I.E. Repin" (school-workshop of M.K. Tenisheva). The school-workshop, where I.E. Repin taught, existed for almost ten years. Many interesting Russian masters (I.Ya. Bilibin and others) received their first artistic skills in it. She organized decorative workshops in her estate Talashkino near Smolensk. ceramics and woodcarving, art school. embroidery and lace. Around M.K.Tenisheva formed an artistic circle, which played a significant role in the artistic. life of Russia at the turn of the century (V.M. and A.M. Vasnetsov, V.D. Polenov, M.A. Vrubel, I.E. Repin, V.A. Serov, K.A. Korovin, S.V. Malyutin, N .K. Roerich and others). LEF - Left Front of ArtLiterary and artistic association. Created in Moscow in 1922. The members of the LEF were prominent representatives of futurism and constructivism, who actively participated in the creation of new forms of revolutionary art: B.I. Arvamov, O.M. Brik, B.A. Kushner, A.M. Lavinsky, V. V. Mayakovsky, A. M. Rodchenko, V. E. Tatlin, S. M. Tretyakov, N. F. Chuzhak and others. non-objective forms of creativity. The tasks of the association included the organization of a new way of life, a "new life-building". The association's artists developed the propaganda poster genre, promoted the ideas of constructivism and functionalism, and put forward a program of "production art" (design). The LEF theories influenced the activities of INHUK and VKHUTEMAS. The association published the magazines "Lef" and "New Lef". Liquidated in 1929. "Shop"The cubo-futuristic exhibition "Shop" was organized by V. Tatlin in Moscow in March 1916. The exhibition featured works by I. Klyun, K. Malevich, L. Popova, N. Udaltsova and A. Exter, as well as two "counter-reliefs" by V. Tatlin. For the first time, A. Rodchenko takes part in the avant-garde exhibition, presenting figurative works and abstract drawings. The exhibition was named after the place of organization - in a Moscow store. MAI - "Masters of Analytical Art"A group (association) of PN Filonov's students. Founded in 1925 in Leningrad. The charter was adopted in 1927-32. The association included up to seventy artists, among whom were T.N. Glebova, B.I. Gurvich, N.E. Evgrafov, S.L. Zaklikovskaya, P.Ya. Kondratiev, R. Levitan, A. Mordvinova, A. I. Poret, A. Sashin, I. I. Suvorov (sculptor), V. A. Sulimo-Samuillo, Yu. Khrzhanovsky, M. P. Tsybasov and others. the principle of MAI is stated in the work of P.N. Filonov "Ideology of analytical art and the principle of doneness". The latter consisted in the fact that the artist "builds" his picture, how nature "creates" all natural objects from atoms and molecules. Filonov painted large canvases with a small brush, "building" the "cellular structures" of the depicted with color. MAI announced itself at an exhibition in the Leningrad Printing House in 1927. The second notable work of the MAI team is associated with the graphics of the excellent academic publication "Kalevala" in 1930. In 1927, the group designed a performance at the Printing House based on N.V. Gogol's play "The Government Inspector". The association officially lasted until 1932. "Makovets"Art Association, osn. in Moscow in 1921. It was originally called the "Union of Artists and Poets" Art is Life ". The union published two issues of the magazine" Makovets ", the name of which was transferred to the association itself. (Makovets is the name of the hill on which the Trinity-Sergius Lavra was built) The magazine published articles by V. Chekrygin, P. Florensky, S. Romanovich, poems by V. Khlebnikov and B. Pasternak.The association included both young artists and former members of the "Jack of Diamonds": V.S. Bart, S.V. Gerasimov, L.F. Zhegin, K.N. Istomin, V.E. Pestel, M.S. Rodionov, S.M. Romanovich, V.F. Ryndin, N.V. Sinezubov, A.V. Fonvizin, VN Chekrygin, NM Chernyshev, AV Shevchenko, A.S. proclaimed realism the only true method of artistic comprehension of life.For the first time in the 1920s, he turned to national artistic values - the Russian fresco and icon.The works of the "Makovites" were distinguished by a high professional culture. Program and practice "M." stood out significantly against the background of the artistic groupings of the avant-garde of the 1920s. The association organized four exhibitions in Moscow: in 1922, 1924 (two exhibitions), 1925. In 1925, part of the artists "M." organized the society "The Way of Painting" (1927-30), part of it moved to the "4 Arts", OMX and other societies. Masters of the New EastA creative association organized by artists of various trends in Tashkent in 1927. Among the founding members are M.I. Kurzin, E.L. Korovai, members - A.N. Volkov, V.P. .Ufimtsev and others. "World of Art"Art Association of St. Petersburg and Moscow Artists. Organized in 1898, formalized in 1900. The initiators of the creation of "M.i." young artists of the student circle of art lovers, which included A.N. Benois, S.P. Diaghilev, K.A. Somov, D.V. Filosofov, V.F. Nouvel, L.S. E.E. Lansere. As an exhibition union under the auspices of the magazine "World of Art" the association existed until 1904. The magazine was published in 1899-1904 under the editorship of S.P. Diaghilev, who owns the declaration of the association, formulated in a number of his program articles. Members of "M.i." from the moment of its formation were Yu.P. Annenkov, L.S. Bakst, A.N. Benois, I.Ya. Bilibin, A.M. and V.M. Vasnetsov, M.A. Vrubel, A.Ya. Golovin, B.D. Grigoriev, M.V. Dobuzhinsky, D.N. Kardovsky, K.A. Korovin, B.M. Kustodiev, P.P. Konchalovsky, P.V. Kuznetsov, E.E. Lansere, M.F. Larionov, I.I. Levitan, A.V. Lentulov, D.I. Mitrokhin, I.I. Mashkov, A.P. Ostroumova-Lebedeva, L.O.Pasternak, K.S.Petrov-Vodkin, Z.E.Serebryakova, K.A.Somov, M.Z.Shagal and others. The period 1898-1904 was the most fruitful in the further fate of the association. Six exhibitions were organized in St. Petersburg and Moscow, of which the 1899 exhibition was international. The last of them was already taking place against the backdrop of an active demarcation of artistic forces. In 1901 from "M.i." leaves a number of Moscow artists organizing the "Exhibition of 36". In 1903, the Union of Artists and a part of the members of the M.I. enters in 1904 in the Union of Artists, retaining the ideological and creative originality. Many artists "M.i." during this period they were attracted by S.P. Diaghilev to work in his entreprise in Paris, in the "Russian seasons". From 1904 to 1910 as an art association "M.i." didn't exist. In 1910, its activity was resumed under the chairmanship of N.K. Roerich. The composition of the society was replenished with young artists representing new creative forces (N.I. Altman, A.E. Karev, L.M. Lissitzky, M.S. Saryan, V.E. Tatlin, V.N. Chekrygin, S.V. .Chekhonin, L.P. Chupyatov, V.I. Shukhaev, G.B. Yakulov and others). In 1917, I.Ya. Bilibin became chairman. In the same year, b. members of the Jack of Diamonds. From 1910 to 1924 "M.i." - a purely exhibition association due to the lack of ideological and creative unity, characteristic of the first stage of activity. During this period, fifteen exhibitions were held in Moscow, Kyiv, St. Petersburg (Petrograd, Leningrad). The last exhibition "M.i." took place in Paris in 1927. In 1924 "M.i." broke up. Some of the artists joined the "Fire-color" and "4 arts" associations. Program "M.i." opposed both academicism and democratic realism. It was based, according to the association's ideologists, on a "well-known humanitarian utopia" about salvation in the world of art, harmony and beauty. The ideal of the "world artists" was "pure", "free" art, although they recognized the social role of artistic creativity. Ideologically and stylistically "M.i." grew out of Western European modernity. The figurative system was built on the poetics of symbolism and neo-romanticism, and at the same time on realistic traditions. Uniform for style "M.i." refined decorativeism, linearity, exquisite combinations of matte tones with gold, artistic retrospection. Creativity of a number of representatives of "M.i." was neoclassical. Artists "M.i." created a special lyric type historical landscape. One of the greatest achievements of the authors of "M.i." was an urban landscape. The association paid great attention to book and magazine graphics, decorative arts, theoretical issues and the history of art. In the environment "M.i." formed the most professional part of the Russian avant-garde. The association played an important role in the development of Russian artistic culture at the turn of the 19th and 20th centuries. "Target"The name of the exhibition of Russian neo-primitivists, organized by M.F. Larionov and his associates in Moscow. The exhibition opened on March 24, 1913 in the exhibition halls of the MUZhVZ. For the first time, amateurs participated together with professional artists. M.F. Larionov (“Seasons”), M.V. Le Dantu (“Caucasian cycle”), K.S. Malevich (“Morning after a blizzard in the village”), A.V. Shevchenko presented their works in the primitive style , N.S. Goncharova and others. The exhibition for the first time showed the works of N. Pirosmanashvili, as well as the Ukrainian artist naif Petr Kovalenko, twenty children's drawings from the collection of A.V. Shevchenko, paintings by amateur artists, signs of the Moscow artel of signboards. The exhibition played a big role in the formation of the Russian avant-garde. No wonder I. Zdanevich called it "the decisive fate of Russian futurism." The exhibition became the highest achievement of the Russian neo-primitivist movement headed by M.F. Larionov. MOLKh - Moscow Society of Art LoversAssociation of artists and art lovers. Main in 1860. Promoted works of art, helped artists, contributed to the spread of culture and art education in Russia. It issued awards, organized competitions, exhibitions, disputes. In 1895, the first congress of artists and art lovers was held in Russia. Among the members of the MOLKh are I.K. Aivazovsky, D.P. Botkin, I.I. Levitan, V.G. Perov, V.V. Pukirev, A.K. Savrasov, S.D. and SM. Tretyakovs, I.E. Tsvetkov and others. Existed until 1918. "Moscow painters"The Society of Artists, which united in 1924 former members of the Jack of Diamonds and young artists from the Genesis Society. They tried to create a new type of socialist art, using the pictorial techniques of "Russian Cezanneism". The Society's goal was to combine new content with an understandable pictorial form. The first exhibition "M.zh." took place in 1925 in Moscow, at the same time a declaration was published. Members of the society: M.N. Avetov, I.E. Grabar, A.D. Drevin, P.P. Konchalovsky, A.V. Kuprin, sculptor B.D. Korolev, A.A. Lebedev-Shuisky, A. V. Lentulov, I. I. Mashkov, A. A. Osmerkin, V. V. Rozhdestvensky, N. A. Udaltsova, V. V. Favorskaya, R. R. Falk, G. V. Fedorov, I. I. Chekmazov and others. In total, the association included up to forty artists. In 1926 "M.zh." in full force entered the AHRR. In 1927 the core of the former members withdrew from the AHRR and established the OMC. MTX - Moscow Association of ArtistsExhibition association of realistic artists. Main in 1893. The charter was approved in 1896. Young artists of various trends also took part in the MTH exhibitions. Members of the MTX were painters, sculptors, graphic artists. Among them - A. S. Golubkina, V. N. Domogatsky, A. I. Kravchenko, V. N. Meshkov, I. I. Nivinsky, P. Ya. and others. Exhibitors of MTH exhibitions - V.E. Borisov-Musatov, M.A. Vrubel, V.V. Kandinsky, E.S. Kruglikova, P.V. Kuznetsov, A.T. , N.P. Ulyanov and others. The Association held twenty-six exhibitions. Existed until 1924. "New Association of Artists" (or "New Munich Art Association") - Neue Kiinstlervereinigung, MiinchenIn 1910, on the basis of the "New Munich Society of Artists", V.V. Kandinsky organized the "New Munich Art Association" or the "New Association of Artists". A. Kubin, A. Kanald, V. Bekhteev, M. Veryovkina, V. Izdebsky, G. Munter, A. Yavlensky became the founding members. The first exhibition took place in Munich in 1909-10, the second - in 1910-11 in the same place. The exhibitions were attended by V. Bekhteev, V. and D. Burliuk, M. Veryovkina, V. Kandinsky, A. Yavlensky, as well as Le Fauconnier, Braque, Derain, Vlaminck, Rouault, Picasso, G. Munter and other members " N.m.h.o." participated in the first exhibition of the "Jack of Diamonds" in 1910 (M.Verevkina, A.Yavlensky, G.Munter), and also exhibited their work in the Paul Casirer Gallery in Berlin in 1911. Disbanded in 1914. "New Art Workshop"Art school, organized in 1913-18 in St. Petersburg in the 4th line of Vasilevsky Island, 23. She was kept at the expense of Princess M.D. Gagarina. It was opened in memory of her father-in-law, the artist G.G. Gagarin, a student and friend of K.P. Bryullov. The workshop worked on the principle of the Parisian "free academies", classes were paid. Teachers were invited as mentors and consultants. The workshop was taught by: M.V. Dobuzhinsky, E.E. Lansere, O.E. Braz, B.M. Kustodiev (before illness), A.N. I. Shukhaev. Milashevsky V.A., Popov B., Domrachev M., Piletsky G. (1915-16), Telyakovsky V., Grinberg V. (since 1917), Mane-Katz, Vereisky G., three Benois sisters: two daughters A.N. Benois - Anna and Elena and daughter of L.N. Benois - Nadezhda. The workshop was often called the "Free Academy". The creative principles of the "World of Art" were promoted. New Munich Society of ArtistsAn association of Russian and German artists of new trends in painting, which arose in Munich in 1909, headed by V.V. Kandinsky. It includes: V. Izdebsky, G. Munter, A. Yavlensky and others. In 1910 it was reorganized into the "New Munich Art Association". KNIFE - New Society of PaintersMain in 1921 in Moscow, graduates of VKhUTEMAS (S.Ya. Adlivankin, A.M. Gluskin, A.M. Nurenberg, M.S. Perutsky, N.N. Popov, G.G. Ryazhsky). The society opposed "non-objective" art, turned to plot, genre painting, reflected modern reality in a satirical and grotesque way. The style of the artists of the KNIFE was based on the traditions of the folk primitive, lubok, painting by A. Rousseau. In general, the theme of the KNIFE denounced philistinism, the Nepman way of life. There was one exhibition in Moscow in 1922. In 1924, the main part of the members of the NOZH moved to Genesis and the society disintegrated. New Society of ArtistsAssociation of graduates of the Academy of Arts, which arose in St. Petersburg in 1903 on the initiative of the spouses D.N. Kardovsky and O.L. Della-vos-Kardoskaya. They also led the society. The members of the Society were mainly students of D.N. Kardovsky. Neoclassicism, based on high school, was recognized as the program of the Society. The Society held 19 exhibitions, but did not have a clear aesthetic position. Lasted until 1917. OBMOKHU - association of young artistsProduction and creative youth association, osn. in 1919 in Moscow by a group of young artists who studied at the State Agricultural Museum (N.F. Denisovsky, A.I. Zamoshkin, V.P. Komardenkov, the Stenberg brothers and others). Organized four exhibitions (1919, 1920, 1921, 1923). G. B. Yakulov, A. M. Rodchenko and others took part in the exhibitions. Plastic textured compositions from various objects and materials (paints, canvas, wood, iron, glass, gypsum) were characteristic of the members of OBMOKhU. Engaged in easel compositions. They made stencils for posters, badges, tokens, tickets, plaster moldings, participated in the festive decoration of streets and squares, theatrical performances. The association broke up in 1923. Art Exhibition SocietyAssociation of artists of the academic direction, which arose in St. Petersburg in 1874 on the initiative of the Academy of Arts with the aim of competing and combating the TPHV. The charter of the society was approved in 1875. Members of the society: Yu.Yu. Klever, VD Orlovsky, VI Yakobi, GI Semiradsky and others. The society organized seven exhibitions in St. Petersburg. Existed until 1885. Society "Moscow Salon"Association, main in 1910 by a group of graduates of the MUZhVZ headed by I.I. Zakharov and V.A. Yakovlev. Declared "tolerance of all beliefs in art." In 1911-20 held 9 exhibitions. The society included: L.M. Brailovsky, N.S. Goncharova, A.V. Grishchenko, M;F. Larionov, N.P. Ryabushinsky, V.F. Society of Russian watercolorists (until 1887 - Circle of Russian watercolorists)Main in 1880 in St. Petersburg. The Charter was approved in 1887. The ideological organizer of the Society was Academician L.O. Premazzi. Almost all members of the society are his students: A.K. Beggrov, Albert N. Benois, N.N. Karazin, M.P. Klodt, L.F. Lagorio, A.I. Meshchersky, E.D. Polenova , A.P. and P.P. Sokolov and others. The goal of the Society was to promote the development of watercolor painting in Russia. Organized thirty-eight exhibitions, incl. mobile (in Riga, Helsingfors, Moscow, Munich). Existed until 1918. Society of Artists. A.I. Kuindzhi (St. Petersburg)Society named after A.I. Kuindzhi - main. in 1909 in St. Petersburg at the expense and on the initiative of A.I. Kuindzhi. The task was to preserve and develop the realistic traditions of Russian art. The society organized exhibitions, acquired works, awarded annual awards them. A.I. Kuindzhi. Over the years, M.I. Avilov, K.F. Bogaevsky, N.P. Bogdanov-Belsky, I.I. Brodsky, V.I. Zarubin, N.K. Roerich, A.A. .Rylov, V.E. Savinsky, Ya.A. Chakhrov, E.M. Cheptsov and others. Society of Historical PaintersFounded in 1894 in St. Petersburg. Among the founders and members are K.N. Gorsky, K.V. Lebedev, A.N. Novoskoltsev, N.S. Matveev, G.I. Semiradsky, A.P. Ryabushkin, A.S. Society brought together artists who were not distinguished by consistency and certainty ideological positions, and this affected the uncertainty of its program and tasks. It sought to attract artists to create paintings on the themes of "universal sacred" (biblical) and church history, ancient mythology, as well as "views of historical places and monuments." The Society organized three exhibitions in St. Petersburg - in 1895, 1896 and 1898. It did not have a particularly noticeable influence on the development of Russian historical painting. Broken up in 1889. Community of ArtistsThe association was founded in St. Petersburg on the basis of the "New Union of Traveling Exhibitions" (1908-10). St. Petersburg artists of various trends were included. The purpose of the association is to support artists, sell paintings, organize educational activities, and organize exhibitions. Members of "O.Kh." - A.K.Zhaba, V.A.Zverev, M.I.Kurilko, D.I.Mitrokhin, G.P.Chernyshev, S.V.Chekhonin, P.L.Shillingovsky and others. 1920s. Association "Being"Founded in Moscow in 1921 by a group of VKHUTEMAS graduates. In 1924-26, b. members of associations "KNIFE" and "Moscow painters". Most of the member artists "B." were formed under the influence of the "Jack of Diamonds", strove for new forms of creativity. The main genres of association - landscape, still life, there was an interest in the Soviet theme. However, the association did not speak out loud. The fuzziness of the program settings led to "B." to decay. In 1927, a group of artists headed by A.A. Osmerkin left the association, some members of the "B." moved to AHRR. In 1930, the association became part of the Society of Soviet easel-designers. Members of "B." were: M.N. Avetov, S.A. Bogdanov, B.S. Zemenkov, A.A. Lebedev-Shuisky, V.A. Savvichev, P.P. and others. The association held seven exhibitions (in 1922, 1923, 1925, 1926, 1927, 1929). In the exhibitions "B." P.P. Konchalovsky, A.V. Kuprin, A.A. Osmerkin, G. G. Ryazhsky and others participated. Association of Left Artists ("Left Association")One of the federations of the Trade Union of Painters, organized in Moscow in June 1917 on the basis of the Union of Artists (March 1917). The association included young "left" artists - A. Grishchenko, K. Malevich, O. Rozanova, V. Tatlin, G. Yakulov (they were members of the Trade Union Council), N. A. Tyrsa and others. Chairman - V. Tatlin, secretary - A. Rodchenko. In June 1918, the left federation withdrew from the Professional Union of Painters of Moscow. Combining the latest trendsA short-term association of Petrograd artists, arose in 1921. Organized from members of the former. "Union of Youth" headed by V.E. Tatlin. The members of the association were VV Lebedev, N. Lapshin and others. It was an attempt to unite the "left" artists of Petrograd. In 1922, an exhibition of the association was opened at the Museum of Artistic Culture in Petrograd. In 1923, the central group "Association of the Newest Trends" participates in the "Exhibition of Paintings by Petrograd Artists of All Trends for the Five-Year Period of Activity 1918-1923". After 1923 there is no information about the Association. "October"Association of new types of artistic work "October" - an artistic association. It arose in 1928 in Moscow. It included artists, architects, art critics, film and photo artists. Members of "O." - brothers Vesnin, A.A. Deineka, M.Ya. Ginzburg, G.G. Klutsis, L.M. Lissitzky, I.L. Novitsky, S. B. Telingater, A. A. Fedorov-Davydov, B. F. Uitz, S. M. Eisenstein and others. In the exhibitions "O." D. Rivera (Mexico) participated. The main tasks of the association are the development of mass propaganda, monumental art, the introduction of industrial forms of art into life, the improvement of the culture of everyday life, the formation of a new artistic consciousness. The association had a declaration (1928). The Charter was established in 1929. "Oh." organized two exhibitions - in Leningrad (1928) and Moscow (1930). Existed until 1932. OMAHRR-OMAHRAssociation of Youth of the Association of Artists of Revolutionary Russia. Since 1928 - Association of Youth of the Association of Artists of the Revolution. Association of young artists, supporters of AHRR. Main in Leningrad in 1925 on the initiative of students of the Academy of Arts, who were joined by students of the Moscow VKhUTEMAS. Legally, it existed under the AHRR, but had an independent charter and structure. OMAHRRR had twenty-six (since 1928 - seventeen) branches in the cities of the RSFSR and other republics. It had sections on the types of fine and decorative arts. It was influenced by the ideas of Proletkult, but strove to find new artistic forms and solutions. OMAHRR conducted active educational, exhibition, lecture and propaganda activities in the widest strata of society. Participated in the design of workers' clubs and houses of culture, mass revolutionary celebrations and Soviet holidays. Organized in Moscow in 1928-29. two exhibitions. Eleven exhibitions were held in the branches. A significant part of the members of the OMAHRR in 1928-29 moved to the AHR. A number of members of the OMAHR formed the leading core of the RAPH (T.G. Gaponenko, F.D. Konnov, A.P. Severdenko, Ya.I. Tsirelson and others). OMX - Society of Moscow ArtistsMain in 1928. The OMC included b. members of the association "Moscow painters", "Makovets", "Genesis". OMC members - S.V. Gerasimov, I.E. Grabar, A.D. Drevin, A.V. Kuprin, A.A. Lebedev-Shuisky, A.V. Lentulov, A.A. .Udaltsova, R.R. Falk, A.V. Fonvizin, N.I. Shestakov and others. OMC united up to seventy members and candidates. Most of the members of the association - b. "jacks of diamonds". The Declaration and the Charter were published in 1928. The declared principles are cezannism, free pictorial plasticity. Two exhibitions in Moscow in 1928 and 1929. In 1931, a number of members of the OMC moved to the Academy of Arts. OPH - Society for the Encouragement of Arts(Until 1875 - Society for the Encouragement of Artists). Main in 1821 in St. Petersburg by a group of noble patrons (I.A. Gagarin, P.A. Kikin, A.I. Dmitriev-Mamonov, etc.) with the aim of helping artists and spreading art education and art in Russia. Organized exhibitions, lotteries, competitions, acquired works of art, at its own expense (pension) sent young artists to study abroad (including A.A. Ivanov, K.P. and A.P. Bryullov), awarded them medals. It contributed to the liberation of artists from serfdom, provided material support (the brothers Chernetsov, T.G. Shevchenko, I.S. Shchedrovsky, etc.). Played an important role in the promotion of lithography and woodcuts in Russia. At the OPH there was a museum of applied arts. The Society published the magazines Art and Art Industry (1892-1902), Artistic Treasures of Russia (1901-07). Existed until 1929. ORS - Society of Russian SculptorsMain in 1926 in Moscow, at the same time the Charter was approved. It united sculptors of various trends, who were previously part of the Society of Moscow Sculptors (founded in 1925). Members of the OPC - N.A.Andreev, V.A.Vatagin, A.S.Golubkina, V.N.Domogatsky, I.S.Efimov, A.N.Zlatovratsky, G.I.Kepinov, S.D.Lebedeva , V.I.Mukhina, M.D.Ryndzyunskaya, I.G.Frih-Khar, I.M.Chaikov, I.D.Shadr and others. The society set the task of consolidating sculptors, developing Soviet sculpture, and implementing the state program of "monumental propaganda". Organized four exhibitions (1926, 1927, 1929, 1931). OSA - Association (society) of contemporary architectsCreated in 1926 in Moscow. The core of the OSA was made up of the LEF architectural group (A.A. and V.A. Vesnin, M.O. Barshch, A.K. Burov, I.N. Sobolev), M.Ya. Ginzburg, V.N. .G.Vegman, as well as the Leningrad architectural group headed by A.S. Nikolsky. Later G.M.Orlov, I.A.Golosov, I.I.Leonidov, I.L.Matsa, A.S.Fisenko, I.S.Nikolaev and others entered. The society promoted the ideas of constructivism and functionalism, the rationality and functional validity of architectural compositions, the use of the latest designs and materials, the principles of typification and industrialization of construction. Published the journal "Modern Architecture" (1926-30). In 1931 it joined the All-Union Architectural Scientific Society (VANO) as the Sector of Architects of Socialist Construction. OST - Society of easel artistsMain in 1925 in Moscow by a group of VKhUTEMAS graduates headed by D.P. Shterenberg. The composition of the OST included mainly students of him and V.A. Favorsky. The charter was registered in 1929. The artists of the OST declared the vitality of the easel painting, laying down the program setting for the completeness of the picture. All this is reflected in the name of the association. The OST opposed the AHRR. The activities of both groups were based on different artistic traditions. The strongest side of the OST was a kind of expressive and generalized pictorial style, bearing the features of primitive, expressionism, constructivism. The OST members affirmed the beauty of the machine and the rhythms of industrial labor, which together destroyed the foundations of Russian patriarchy (the main themes are industrialization, sports, the city). The OST members declared a rejection of abstractness and wandering in the plot, of "pseudo-Sezannism", they were guided by the artistic youth. Significantly departed from the traditions of classical realism. Among the members of the OST are D.P. Shterenberg (chairman), Yu.P. Annenkov, A. Barshch, G.S. Berendgof, L. Ya. , A.D.Goncharov, A.A.Deineka, M.Dobrokovsky, N.F.Denisovsky, I.V.Ivanovsky, A.N.Kozlov, I.V.Klyun, I.Kudryashev, N.N.Kupreyanov , A.A.Labas, S.A.Luchishkin, V.Lyushin, Yu.A.Merkulov, E.K.Melnikova, Yu.I.Pimenov, A.Ya.Tyshler, N.Shifrin, V.V.Ellonen and others. OST united more than thirty artists. Leading OST artists played an important role in the development of Soviet easel and monumental painting, book graphics, posters, and theatrical and decorative art. The society organized four exhibitions (1925, 1927 - two, 1928) and in 1929-30 participated in two major traveling all-Union exhibitions. In 1931, a split occurred in the OST, as a result of which two groups of artists departed - OST-14 and OST-20. In 1932 the society broke up. Part b. members entered the "Isobrigade", part - in the "October". "Donkey tail"A group of young Moscow artists that separated from the "Jack of Diamonds" in 1912 and organized two exhibitions of the same name in Moscow and St. Petersburg this year (one jointly with the "Union of Youth"). The reason for leaving was creative disagreements with the “knaves of diamonds”, who paid too much attention to the latest Western European and especially French painting, neglecting the Russian painting method. The group rejected the "Westernism" of "BV", proclaimed the freedom of form-creation, oriented towards primitivism, the Russian icon, popular print, and the values of oriental art. Exhibitors and members of "O.Kh." - V.S. Bart, T.N. Bogomazov, N.S. Goncharova, M.V. Le Dantu, K.M. Zdanevich, I.F. Larionov, M.F. Larionov, K.S. Malevich, A. Morgunov, E. Ya. .Fonvizin, M.Z.Shagal and others. In 1913, the group organized the exhibition "Target" in Moscow, which declared the creation of a new style - "Raychism", where the techniques of cubism and futurism were reworked in a decorative and abstract spirit. OHR - Association of Realist ArtistsMain in 1927 in Moscow by former members of the Union of Artists and the Society of Artists, who left the AHRR. It set the task of preserving realistic artistic skill, the traditions of Russian realistic art. Members of the association - M.Kh. Aladzhalov, V.N. Baksheev, V.K. Byalynitsky-Birulya, A.M. Vasnetsov, N.A. Simov, L.V. Turzhansky and others. The association broke up in 1930. To part b. members were joined by the artists of the "Moscow Salon" and renamed the OCR into the Association of Fine Arts Workers ISSTR ("Art for Socialist Construction"), which was engaged in design work. The OCR had a declaration (1927), a Charter (1928). Exhibitions - 1927, 1928 in Moscow. Proletkult - "Proletarian Culture"Mass cultural and educational organization. Created in September 1917 in Petrograd at the 1st All-Russian Conference of Cultural and Educational Workers' Organizations. She set the task of forming a new proletarian culture through the development of the creative initiative of workers. She created universities, clubs, circles, studios, folk theaters. In 1918-19 it had 147 branches in Russian cities and published over twenty journals. Theorists "P." - A.A. Bogdanov, P.I. Lebedev-Polyansky, V.F. Pletnev and others denied the need for a continuous cultural tradition, great culture of the past. The vulgar sociological approach dominated in the program settings. In studios and circles "P." many artists, regardless of the principles of leadership, conducted professional training, taught the basics of professional skills (P.V. Kuznetsov, S.T. Konenkov, V.D. Falileev, etc.). The studios participated in the design of many festivities, propaganda trains, and were engaged in design work. By the end of the 1920s, the "P." has lost its mass character. In 1932 "P." was liquidated. The functions of methodological guidance for amateur art were transferred to the Central House of Amateur Art (founded in 1932); in 1936 it was reorganized into the All-Union House of Folk Art. N.K. Krupskaya. From 1958 to 1992 - the Central House of Folk Art. N.K. Krupskaya. "Way of painting"Creative association. It took shape in Moscow in 1926. The members were students of L.F. Zhegin, N.M. Chernyshov and M.S. Rodionov. Initiator and founder - L.F.Zhegin. The members of the association were: T.B. Alexandrova, P.P. Babichev, S.S. Grib, V.I. Gubin, L.F. Zhegin, V.V. Korozheev, G.V. Kostyukhin, V.E. Pestel, G.V. Sashenkov, I.G. Nikolaevtsev, V.A. Dmitriev. Some were previously members of the Makovets association (led by L.F. Zhegin), the rest were his students in the class of painting and drawing at the Moscow Art and Production School of Printing Production (former Sytin School). The aesthetic platform of the group was set out in a declaration, almost entirely written by L.F. Zhegin and published in the catalog for the Paris exhibition of the association in 1928. It declared the continuity of the traditions of the great classics, the “unshakable values” of art, following the great masters of the past. The first exhibition took place in Moscow in a private apartment on the Arbat in 1927 (Serebryany lane, 6). The second one was repeated in Paris in 1928. In addition to members of the association, the exhibition featured works by VN Chekrygin. After the Paris exhibition Yu.V. Sashenkov joined the association. The next exhibition was held in Moscow, in the House of Scientists, in 1930. The realistic program of the group sounded modern at the memorial exhibition in the House of Artists (Moscow) in 1974, where the works of its members were presented. Broken up in 1931. RAPH - Russian Association of Proletarian ArtistsCreated in 1931 in Moscow on the basis of the Academy of Arts, OMAHR and the Society of Self-Taught Artists. In program issues, she proceeded from a vulgar sociological understanding of the nature of artistic creativity. It artificially divided artists into "proletarian" and "bourgeois", planted gangsterism and methods of administration. Denied professionalism in art. T. G. Gaponenko, F. D. Konnov, P. F. Osipov, A. P. Severdenko, Ya. Liquidated in 1932. "HEIGHT"Society of Artists "ROST". Founded in Moscow in 1928. The initiators and members of the society were young artists, mostly students of VKHUTEIN. In 1928 published a declaration. It set as its goal to bring art closer to a new viewer, to develop the creativity of workers. Engaged in propaganda and educational activities, organized exhibitions in workers' clubs. The program is close to AHRR-AHR. N.V. Kashina, L.Ya. Zevin and others were members of the Society. The Society held two exhibitions (1928, 1929). Disbanded in 1930. Part of the members of "R." moved to the Academy of Arts and the Association of Public Artists (founded in 1928). "Salon of the Golden Fleece"Exhibition group of artists at the magazine "Golden Fleece" in Moscow, organizers of exhibitions under the auspices of the magazine. The magazine "Golden Fleece" was published by N.P. Ryabushinsky in 1906-09, he was also its editor. The magazine was the center of Russian symbolism. At the "Exhibitions of paintings of the Golden Fleece" the Russian audience got acquainted with the latest trends in Russian and Western European art of the late XIX - early XX centuries. The first two exhibitions were held in May 1908 and January-February 1909 in Moscow. In the Russian section, the artists N. Goncharova, M. Larionov, P. Kuznetsov, M. Saryan, P. Utkin, A. Fonvizin were presented, in the French section, both exhibitions introduced the names of Braque, Vlaminck, Derain, Matisse, Rouault, etc. 1909 in the magazine "Z.r." A. Matisse publishes a program article on the new painting "Painter's Notes". In December 1910, the third "Exhibition of paintings of the Golden Fleece" took place. Only Russian artists N. Goncharova, P. Konchalovsky, P. Kuznetsov, I. Larionov, I. Mashkov, R. Falk and others participated in it. In the spring of 1911, the exhibition group of symbolist artists "Salon of the Golden Fleece" ceased its activities. Salon of the National Society of Fine Arts in ParisIn France, salons were called periodic art exhibitions that had an official character. Exhibitions were held at the Louvre since 1699, in the Grand Gallery, and in 1737-1848 in the so-called. The Square Salon, hence the name of the exhibitions. The Society of French Artists was founded in 1881, from which a group of artists emerged in 1889, headed by Meissonier and Puvis de Chavannes, who organized the National Society of Fine Arts. The Society held annual exhibitions at the Grand Palais on the Champs Elysees. It united artists of the neo-romantic, neo-classical direction. Salon of Independents (Paris)The Society of French Artists, who recognized the artist's right to exhibit freely without the intervention of a jury. It arose in 1884 in Paris in protest against the censorship of the official jury of the Society of French Artists. Arranged annual spring exhibitions in Paris for artists of all artistic directions in art, but mostly on the left. Subsequently, the exhibition s.n. become seasonal. St. Petersburg Society of Artists(Since 1914 - the Petrograd Society of Artists). Main in 1891. It united artists of the academic direction. Since 1891, it has organized annual exhibitions, including those with free admission. S.V. Bakalovich, S.I. Vasilkovsky, N.N. Karazin, A.D. Kivshenko, K.Ya. Kryzhitsky, L.F. Lagorio, K.E. Makovsky, A. I. Meshchersky, G.I. Semiradsky and others. Existed until 1918. "Blue Four" (Blaue Vier)A group created in Munich in 1925 by W. Kandinsky. The group includes L. Feininger, A. Yavlensky, P. Klee. At the same time, an exhibition of the same name was organized. "Modern Art"An art enterprise of an applied and exhibition nature, which arose in St. Petersburg on January 18, 1903 at the initiative of the "World of Arts" and the active participation of I.E. Grabar. The main task of "S. And." - the creation of highly artistic samples of applied art and the organization of collective exhibitions for the purpose of propaganda in the periphery. Artistic the center was opened on Morskaya Street in St. Petersburg with the participation of A.N. Benois, L.S. Bakst, K.A. Korovin, E.E. Lansere, A.Ya. Golovin and others. V.V. von Meck. Practically S. And." was a showroom. It existed for several months and was closed in the same 1903. However, the exhibitions organized by the enterprise left a noticeable mark on Russian art at the beginning. XX century: exhibition of interiors based on the sketches of the artists of the World of Art, three expositions of works by K.A. Somov, N.N. Roerich and Japanese engravings. Union "Sunflower"A group of gifted creative youth of Kazan, osn. in 1918. In 1920-23 she published the almanac "The Horseman" with a series of unusually mature avant-garde engravings in the original style (4 albums). The artists of the group used in their works the ideas of the leading futurists of Moscow and Petrograd. Members of "P." were I. Pleshchinsky, N. Chebotarev and others. "Youth Union"Main in 1910 in St. Petersburg as a kind of opposition to the "World of Art". Then the Charter was adopted. Chairman - L.I. Zheverzheev, collector and philanthropist. Founding members I.S. Shkolnik, E.K. Spandikov. It united representatives of various artistic movements: cubism, symbolism, futurism, "non-objectivity". It did not have a specific program, but paid much attention to the development of the formal foundations of painting: volume, rhythm, layout, texture, color ratios, etc. Soyuz was also engaged in scenographic experiments. The play "Under the Sun" (music by M. Matyushkin, libretto by A. Kruchenykh and V. Khlebnikov, scenery by K. Malevich), the tragedy "V. V. Mayakovsky" (stage scenery by P. Filonov and I. Shkolnik) were staged. "Cm." organized six exhibitions, where almost all the major masters of the Russian avant-garde exhibited their works (1910 - St. Petersburg, Riga; three exhibitions 1911-12 in St. Petersburg, 1912 - Moscow, 1913-14 - St. Petersburg). In 1919, former members of "Sm." under the auspices of the Union participated in the "First State Free Exhibition of Works of Art" (Petrograd). The association published a magazine of the same name (issue of 1912-13). In 1913, in the collection "Union of Youth" his manifesto was published, the author of which was O. Rozanova. "Union of Youth" united more than 30 members. Among them: N.I.Altman, Yu.P.Annenkov, A.P.Arkhipenko, brothers V. and D. Burliuk, L.A.Bruni, V.D.Bubnova, N.Goncharova, A.V.Grishchenko , I.V. Klyun, N.V. Lermontova, K.S. Malevich, M.P. Matvey, M.V. Matyushin, V.V. Mayakovsky, A.A. Miturich, A.A. Morgunov, L .S.Popova, I.A.Puni, O.V.Rozanova, V.E.Tatlin, N.A.Tyrsa, N.A.Udaltsova, P.N.Filonov, M.Z.Shagal, A.A. .Exter and others. The Youth Union existed until 1917. SRH - Union of Russian ArtistsArose in 1903 on the initiative of the b. members of the TPHV and the "World of Art", in 1901-02 united at the "Exhibition of 36 Artists". The Union included Moscow and St. Petersburg painters - A.E. Arkhipov, A.N. Benois, A.M. and V.M. Vasnetsov, S.A. Vinogradov, M.V. Dobuzhinsky, S.Yu. Zhukovsky, S.V. Ivanov, K.A. Korovin, N.P. Krymov, S.V. Malyutin, L.O. Pasternak, P.P.Petrovichev, A.A.Rylov, K.A.Somov, A.S.Stepanov, L.V.Turzhansky, K.F.Yuon and others. The SRH program is characterized by a democratic orientation, an interest in Russian nature, and the originality of people's life. The traditions of the Wanderers were combined with the principles of plein air painting, in the works of artists there was a tendency to impressionism, decorative painting style. The Moscow members of the Union of Artists adhered more consistently to the ideological foundations of the TPES. CPX organized eighteen exhibitions in Moscow, Petrograd, Kyiv, Kazan. Creative differences, which intensified by 1910, led to a split in the Union. In 1910, Petersburg artists came out of it. The CPX existed until 1923. His b. members entered the AHRR and OHR. Studio "In the tower"The first free collective workshop in Russia, which had the character of an artistic group. There is a name "On the tower". Created in 1911 in St. Petersburg on the initiative of M. Larionov and united, mainly, his group on the "Jack of Diamonds". K.Zdanevich, V.Bart, N.Goncharova, L.Popova, N.Udaltsova worked in the studio. Members of the studio in 1912 were first presented under the name "Donkey Tail" at the third exhibition of the Union of Youth. "Supremus"The Society of Avant-Garde Artists arose in Moscow at the very end of 1916 under the auspices of K. Malevich. It included: N.Davydova, I.Klyun, L.Popova, O.Rozanova, N.Udaltsova (Secretary of the Society), A.Exter. The first issue of the magazine "Supremus" was prepared (not published) - editorial secretary O. Rozanova. In 1917, an exhibition of "The Jack of Diamonds" was held in Moscow, where members of the "Supremus" participated - K. Malevich, L. Popova, N. Udaltsova, O. Rozanova, I. Klyun, who presented non-objective painting. In 1918 the Society (circle) disintegrated with the death of O. Rozanova. Association of Independent ArtistsAn association of young Ukrainian artists of the left direction, who left the Association of South Russian Artists due to ideological differences and from 1912 organized separate exhibitions of "united" (1912, 1913, 1914), and from 1916 organized exhibitions of "independent artists". So in Odessa a new association "Association of Independent Artists" arose, which had the goal of resisting TYURKh with its realistic traditions. The association was headed by M. Gershenfeld. The declaration was published in 1916, in the catalog of the first exhibition of the Association. The basis of creativity was proclaimed "mystic, exotic and erotic". Members of the Association - M. Skrotsky, A. Nyurenberg, and others. The Association sought to direct the creative efforts of young Ukrainian artists in the mainstream of modern reformist trends. On the initiative of "T.n.h." In 1917 the Union of Artists of the Plastic Arts was created in Odessa. Exhibitions - 1916, 1918, 1919. Existed until 1922. TPHV - Association of Traveling Art ExhibitionsThe largest in Russian culture of the XIX century. creative association of realistic artists, democrats, DOS. in 1870 in St. Petersburg on the initiative of I.N. Kramskoy, N.N. Ge, G. G. Myasoedov, V. G. Perov. It set the task of ideological and aesthetic education of the people and the popularization of democratic art. The TPHV resolutely opposed the academic school and grew up on the basis of open speech against academic conservatism, canons and idealistic aesthetics of academism. V.V. Stasov and P.M. Tretyakov played a major role in the development of the artistic and educational activities of the TPHV. Members of the Association were active in pedagogical work. Since 1871, the Association has organized forty-eight traveling exhibitions in St. Petersburg, Moscow, Kiev, Kharkov, Kazan, Orel, Riga, Odessa and other cities. The activities of the TPES had a huge impact on the activation of democratic processes in Russian society, on cultural life Russia, contributed to the formation of national art schools. The partnership was the center of the best Russian progressive artistic forces, it was an important stage in the development of Russian culture. For its time, the socio-critical trend in the work of the Association had objective historical significance. The creative energy of the Partnership stimulated the birth of new artistic ideas, rethinking the landscape, historical painting, portrait, still life, everyday genre. In the 1890s, disagreements arose among the members of the TPHV. New artistic searches of the boundary period brought to life numerous ideological and artistic movements, creative associations and groupings. The TPHV was losing its leading role in the artistic life of Russia. The association continued to preserve the traditions of Russian democratic realism and existed in this capacity until 1923. Many of its members moved to the AHRR. "Tram B"The name of the first futuristic exhibition in Petrograd in March-April 1915. The organizers of the exhibition are Ivan Puni and his wife Ksenia Boguslavskaya, K.Malevich. It was attended by Moscow and Petrograd artists: K. Boguslavskaya, I. Klyun, A. Morgunov, L. Popova, I. Puni, O. Rozanova, V. Tatlin (who presented the "picturesque reliefs" of 1914), N. Udaltsova, A. Exter. At the opening of the exhibition, the costumes of the participants were decorated with red wooden spoons. TYURH - Association of South Russian ArtistsProfessional art association, osn. in Odessa in 1890. Original name "Association of Periodic Exhibitions of South Russian Artists". It arose among Ukrainian and Russian artists under the influence of the activities of the TPHV. Consistently embodied the principles of democratic realism, the program is close to the TPHV. K.K. Kostandi played a big role in the organization of TYURH. The founding members were N.D. Kuznetsov, M.I. Kravchenko, G.A. Ladyzhensky, A.A. Popov, A.P. Razmaritsyn, N.A. Skadovsky, sculptor B.V. Eduarde. The TYURH included K. Bogaevsky, P. Volokidin, G. Golovkov, T. Dvornikov, A. Kalning, S. Kishinevsky, D. Krainev, E. Lansere, A. Lakhovsky, P. Levchenko, J. Mormone, P. Nilus, N. Pimonenko, S. Sevastyanov, A. Shovkunenko, A. Shturman and others. Since 1902, K.K. Kostandi was the chairman, and A.M. The partnership played an important role in the formation of the Ukrainian national realistic school of painting. In 1893 the Partnership was reorganized, a new charter was adopted and approved (1894). TYURH organized traditional exhibitions almost annually, in which artists from Odessa, Kyiv, Moscow, St. Petersburg and others exhibited, organized seasonal exhibitions, charitable, contemporary foreign paintings. Maintained close ties with artists from all regions of Ukraine, with the Wanderers. TYURH took an active part in exhibitions of art associations and groups in Kharkov, Moscow, Kiev, Rostov, Nikolaev, in the Nizhny Novgorod All-Russian Exhibition of 1896, the "Exhibition of 36 Artists" in Moscow (1902), in the World Exhibition in Paris (1900, K.K. .Kostandi and B.Eduarde were awarded medals) and other exhibitions. Participated in the preparation of the First All-Russian Congress of Russian Artists and Art Lovers (1894, Moscow). Organized in 1891, 1892, 1894-95, 1910 traveling exhibitions in the cities of Ukraine, as well as in Moscow. The partnership contributed to the opening of the Museum of Fine Arts in Odessa, the creation of a literary and artistic partnership (1897), restored paintings, and carried out a large gratuitous work to promote art and enlightenment. Published in 1905 his magazine "The Ringing" (two issues came out). For the first time, the Ukrainian audience was widely acquainted with the work of such artists as I.I. Levitan, I.K. Aivazovsky, V.A. Serov, L.F. Lagorio, V.V. Vereshchagin. In 1919, the collapse of TYURH began, associated with the emigration of its creative core. N.Kuznetsov, B.Eduarde, P.Nilus, V.Korenev-Novorossiyskiy, O.Ganzen, P.Gansky and others went abroad. K.K.Kostandi died in 1921. In memory of him, in 1922, a new art association was organized by the TYURKh - the "Art Association named after K.K. Kostandi" (1922-29). With its creation, TYURH ceased to exist. UNOVIS - an association of students of K.S. Malevich "Affirmative of the new art"Formed on February 14, 1920 in Vitebsk at the Vitebsk Artistic and Practical Institute on the basis of the POSNOVIS group ("Followers of the New Art" - January 1920 ibid.). The goal of UNOVIS was a complete renewal of the art world on the basis of Suprematism. The core of the Vitebsk UNOVIS, headed by K.S. Malevich, was V.M. Ermolaeva, L.M. Lisitsky, M.O. Kogan, I.G. Chashnik, N.M. Suetin, L.M. G.Magaril. Following Vitebsk, UNOVIS groups sprang up in Moscow, Petrograd, Smolensk, Samara, Saratov, Perm, Odessa, Orenburg, and other cities. UNOVIS carried out a number of theatrical productions and carried out extensive exhibition work. Exhibitions were held in Vitebsk, in 1920-21 in Moscow at VKhUTEMAS. With the move of K.S.Malevich to Petrograd, the activities of UNOVIS members continued on the basis of INKhUK (1923-26), of which K.S.Malevich became the director. Own publications: 1. UNOVIS.-Art. Vitebsk, 1921 (March) N 1, magazine of the art subdepartment; 2. Album about UNOVIS. Manuscript by K. Malevich and El-Lissitzky. Vitebsk, 1921-22. "Workshop of Painters" - Society of ArtistsMain in 1926 in Moscow on the initiative of A.V. Shevchenko and his students. Creation of "Ts.zh." was preceded by the exhibition "Tsvetodynamos and tectonic primitivism" (1919), the participants of which in 1923 united in the "Society of Easel Artists", transformed into the "Workshop of Painters". The charter was approved in 1928. The society did not have a creative face and clearly expressed creative principles. The problem about-va was reduced to picturesque searches. Artists turned to contemporary topics, using the pictorial techniques of various trends in European art of the XIX-XX centuries. Members - I. O. Akhremchik, R. N. Barto, V. A. Golopolosov, V. V. Kapterov, V. V. Pochitalov and others. In 1928, a group of its oldest members left the society, and in 1930 "Ts.zh." teamed up with Genesis and Cultural Front. The society organized three exhibitions (1926, 1928, 1930). "Four Arts" - Society of ArtistsMain in 1925 in Moscow. It united artists of different generations and creative passions, ranging from the masters of the "Blue Rose" and the "World of Art" and ending with representatives of the "leftist trends". The program was based on high professional skills aimed at achieving expressive art form, artistic quality. They proceeded primarily from the achievements of the French school, "as the most complete and comprehensive development of the basic properties of the art of painting." The declarative slogan is "artistic realism". The charter was approved in 1928, the society issued a declaration (1930). Organized four exhibitions (1925, 1926, 1929 - Moscow, 1928 - Leningrad). Participated in exhibitions in 1929-30. The members of the society were: M.Akselrod, E.Bebutova, V.Bekhteev, L.Bruni, G.Vereisky, L.Gudiashvili, K.Istomin, I.Klyun, P.Kuznetsov, L.Lissitzky, K.Malevich, A.Matveev, P.Miturich, V.Mukhina, I.Nivinsky, A.Ostroumova-Lebedeva, K.Petrov-Vodkin, M.Sarian, N.Tyrsa, N.Ulyanov, P.Utkin, V.Favorsky, I. Chaikov, A.V. Shchusev and others, - for the entire period of its activity, the society united more than 70 members in its ranks. Disbanded in 1932. Some of the members moved to the AHR. |