In Russia: Realities of the Revolution and Civil War through the eyes of the artist Ivan Vladimirov (part 2)

Russia: Realities of the Revolution and Civil War through the eyes of the artist Ivan Vladimirov (part 2)

Russia: Realities of the Revolution and Civil War through the eyes of the artist Ivan Vladimirov (part 1)

Capture of whitevardi spyware

The uprising of the peasants in the estate of Prince Shakhovsky

Framing of peasants by Belocazakas

Capture of the Weangele Tanks of the Red Army under Kakhovka

The flight of the bourgeoisie from Novorossiysk in 1920

For the anniversary of the October Revolution, we remembered the ten most important works of the art of the period - from the "Red Wedge of Bey White" Lisitsky to the "Defense of Petrograd" Deneki.

El Lisitsky,

"Red Wedge Bay White"

In the famous poster "Red Wedge Bay White" El Lisitsky uses the Suprematic Language of Malevich for political purposes. Pure geometric shapes serve as a description of a fierce armed conflict. Thus, the immediate event, the action of Lisitsky reduces to the text and slogan. All elements of the poster are rigidly intertwined with each other and interdependent. Figures lose their absolute freedom and become geometric text: this poster and without letters would read from left to right. Lisitsky, like Malevich, designed a new world and created the forms in which a new life was supposed to be met. This product thanks to the new form and geometry translates the evil day in some common timeless categories.

Clement Redko

"Insurrection"

The work of the Clement Rishko "Rebellion" is the so-called Soviet Neoikon. The idea of \u200b\u200bthis format is that the image applied to the plane is primarily a certain universal model, the image of the desired. As in the traditional icon, the image is not real, but displays a certain ideal world. It is non-plane that underlies the art of social realism of the 30s.

In this work, radically dries on a bold step - in the space of the picture, it connects geometric shapes with portraits of Bolshevik leaders. On the right and left hand from Lenin, his associates are standing - Trotsky, Krupskaya, Stalin and others. As in the icon, there is no familiar perspective, the scale of one or another figure depends not on its remoteness from the viewer, but from its significance. In other words, Lenin here is the most important, therefore the biggest. Great importance to the Rishko and Light.

From the figures as if the glow is coming, which makes the picture similar to the neon sign. The artist indicated this technique in the word "cinema". He sought to overcome the materiality of the paint and conducted analogies between painting and radio, electricity, cinema and even the northern shine. Thus, he actually puts the same tasks that many centuries have set back icon painters. He played a new way to all the schemes, replacing the paradise of the socialist world, and Christ and the Saints - Lenin with his minions. The purpose of creativity is radically - deification and sacralization of the revolution.

Pavel Filonov

"Formula of Petrograd proletariat"

The "Formula of Petrograd proletariat" was written during the Civil War. In the center of the picture - a worker, whose majestic figure towers over the barely distinguishable city. The composition of the painting is built on tense rhythms that create a feeling of a raging and growing movement. Here all the iconic symbols of the proletariat are captured, for example, gigantic human hands are an instrument of conversion of the world. At the same time, it is not just a picture, but a generalizing formula that reflects the universe. Filonov seems to be splitting the world to the smallest atoms and immediately collects him together, at the same time looks at both the telescope and in the microscope.

The experience of participation in the Great and at the same time of the monstrous historical events (First World War and Revolution) had a huge impact on the work of the artist. People in Filon's paintings are crushed in the meat grinder of history. His work is difficult to perceive, sometimes painful - the painter endlessly crushes the whole, bringing it sometimes to the degree of Kaleidoscope. The viewer constantly has to hold all the fragments of the picture in the head, in order to end up to catch a holistic image. The world of Filonova is the world of the collective body, the world of the idea of \u200b\u200bthe concept of "we", where private and personal abolished. The artist himself considered himself an expressant of the ideas of the proletariat, and a collective body, which is always present in his paintings, called "world blooming". However, it is possible that even against the will of the author of his "We" is filled with deep horror. In the work of Filonov, the new world appears a messy and terrible place where the dead penetrates alive. In the works of the painter, not so much modern events, how much the premonition of the future is the horrors of totalitarian regime, repression.

Kuzma Petrov-Vodkin

Petrograd Madonna

Another name of this painting is "1918 in Petrograd." In the foreground, a young mother with a baby in her arms is depicted, in the background - the city, where only the revolution is only withdrawal - and its inhabitants are bothering with a new life and power. The picture resembles or the icon, whether the fresco of the Italian Master of the Renaissance.

Petrov-Vodkin interpreted a new era in the context of the new fate of Russia, but he did not strive to destroy the entire old world to the foundation to destroy the entire old world and there was a new one on his ruins. Plots for paintings He screamed in everyday life, but the shape for them takes from the past eras. If medieval artists dressed biblical heroes into modern clothes in order to bring closer to their time, Petrov-Vodkin arrives exactly on the contrary. A resident of Petrograd he depicts in the image of the Mother of God to give an ordinary, everyday plot unusual significance to him and at the time of time and ultimateness.

Kazimir Malevich

"Head of the peasant"

To the revolutionary events of 1917, Kazimir Malevich came the master who passed the way from impressionism, neoshimativism to his own discovery - suprematism. Malevich perceived the revolution of the worldview; The new people and propagandists of the Supremat faith were members of the art grouping UIVIS ("New Art Affirmations"), wearing a black square on the sleeve on the sleeve. According to painting, in the changed world, art had to create their own state and their own world order. The revolution gave the opportunity to rewrite all the past and future history in such a way as to take the main place in it. It must be said that in many ways they succeeded, because the art of avant-garde is one of the main business cards of Russia. Despite the program denial of the visual form as an outstretched, in the second half of the 20s the artist appeals to the figurativeness. He creates the works of the peasant cycle, but dates them in 1908-1912. (That is, the period to the "black square"), so the rejection of freeness does not look like a betrayal of their own ideals. Since this cycle is partly a hoax, the artist appears as a prophet, who will predict future folk unrest and revolution. One of the most notable features of this period of his work became the depletion of people. Instead of the faces of their bodies are crowned with red, black and white ovals. From these figures, on the one hand, an incredible tragedy, on the other, is distracted greatness and heroism. The head of the peasant is reminded of sacred images, for example, the icon "saved an old eye". Thus, Malevich creates a new "post-proprumatic icon".

Boris Kustodiev

"Bolshevik"

Boris Kustodiev's name is primarily associated with bright, colorful paintings depicting the life of merchants and idyllic festive walking with characteristic Russian scenes. However, after the coup, the artist turned to revolutionary topics. In the painting "Bolshevik" depicts a gigantic man in felt boots, turpentine and cap; Behind him, filling it all the sky, the red banner of the revolution flutters. He takes a gigantic step in the city, and the numerous people go far at the bottom. The picture has acute poster expressiveness and speaks with the viewer very pathetic, straight and even a somewhat rude symbolic language. A man is, of course, the revolution itself, escaped to the streets. It is not stopped by anything, not to hide from her, and she will eventually dismiss and destroy everything in its path.

Kustodiev, despite the grand changes in the artistic world, remained faithful at that time already archaic pictusive. But, oddly enough, the aesthetics of merchant Russia organically adjusted for the requests of a new class. The recognizable Russian woman with a samovar, symbolizing the Russian way of life, he replaced for an equally recognizable man in a tag ray - seey Pugacheva. The fact is that in the first and second case, the artist uses understandable to any image-symbols.

Vladimir Tatlin.

Monument III International

The idea of \u200b\u200bthe tower arose from Tatlin back in 1918. She had to become a symbol of new attitude of art with the state. A year later, the artist managed to receive an order for the construction of this utopian construction. However, she was destined to remain unfulfilled. Tatlin wondered to build a 400-meter tower, which would consult three glass rotating at different speeds of volumes. Outside, there were two giant spirals from metal from outside. The main idea of \u200b\u200bthe monument consisted in dynamics, which corresponded to the spirit of the times. In each volume, the artist was assumed to place the premises for the "three authorities" - legislative, public and information. Her shape reminds the famous Babylonian tower from Peter Breygel - only Tatlin Tower, unlike Babylonian, should have served as a symbol of the reunification of mankind after the world revolution, whose offensive was so passionately waited in the first years of Soviet power so passionately.

Gustav Curis

"Electrification of the whole country"

Constructivism with great enthusiasm than the remaining flow of avant-garde, took responsibility for the rhetoric and aesthetics of power. A bright example is the photomontage of the constructivist of Gustav club, which combined the two most recognizable era language - geometric structures and the face of the leader. Here, as in many works of the 20s, it is not reflected in the real picture of the world, but the organization of reality through the eyes of the artist. The goal is not to show this event, but to show how this event the viewer should perceive.

The photo played a huge role in the state propaganda of that time, and the photomontazh was the ideal means of influence on the masses, the product, which in the new world had to replace painting. Unlike the same picture, it can be reproduced countless times, put in a magazine or poster and thereby convey to a huge audience. Soviet installation is created for the sake of mass reproduction, the guide here is abolished with a huge circulation. Socialist art eliminates the concept of uniqueness, it is nothing more than a factory for the production of things and very definite ideas that must be learned by the masses.

David Sisterberg.

"Prostokvash"

David Sterönberg, although he was a commissioner, but was not a radical in art. It has implemented its minimalistic decorative style first in still lifes. The main admission of the artist is a little rumped vertically table top with flat objects on it. Bright, decorative, very applicative and fundamentally "superficial" still lifes were perceived in Soviet Russia as truly revolutionary, turning the old life. However, the limit flatness is combined here with incredible tactacations - almost always painting simulates one or another texture or material. The pictures with a modest shown on them, and sometimes a scarce will show a modest, and sometimes a meager ration of proletarians. The main focus of the Sisterberg makes on the shape of a table, which in a certain sense becomes a reflection of the cafe culture with its openness and exhibit on the show. The loud and pactot slogans of the new livestock captured the artist less less.

Alexander Deineka.

"Defense Petrograd"

The picture is divided into two tiers. In the lower, the fighters are cheering on the front, at the top - returning from the battlefields wounded. Daenek uses the reverse movement - first the action develops from left to right, and then right to left, which creates a sense of cyclicity of the composition. The complete determination of men's and women's figures are discharged powerfully and very large. They personify the readiness of the proletariat to go to the end, no matter how much time it should be needed - since the composition of the picture is closed, it seems that the flow of people going to the front and returning
with it, does not dry out. In the hard, inexorable rhythm of the work, the heroic spirit of the era and the pathos of civil war was romanticized.

IN

The original is taken by W. tipoLog. in
Russia: Realities of Revolution and Civil War
eyes of the artist Ivan Vladimirov (part 2)

Russia: Realities of Revolution and Civil War
eyes of the artist Ivan Vladimirov
(part 2)

The artist-Batalist Ivan Alekseevich Vladimirov (1869 - 1947) is known for the cycles of its works dedicated to the Russian-Japanese war, the revolution of 1905 and the First World War.
But the most expressive and realistic appeared cycle of his documentary sketches 1917 - 1920.
In the previous part of this selection, the most famous paintings of Ivan Vladimirov of this period of time were presented. For the same time it came to put a turn on the universal review, those of them, which, for various reasons, were not widely represented by the audience and are largely new for it.

To increase any of the pictures you like, make a mouse over it
In the basements of the CC (1919)

All the activities of the Soviet government after the revolution in the field of art were aimed at the development of the creative activity of Soviet artists. During this period, various forms of agitational-mass art are most rapidly developed; It goes outside, turns to the multi-million masses of workers. On the days of the holidays, for the first time the streets and square began to decorate with large colorful panels on revolutionary topics, transparencies, bright posters.
Active agent of artistic agitation was also campaign trains and steamers. Agitational literature was delivered to them, film-changing, exhibitions were placed, lecturers, speakers.
New tasks stood up before Soviet painting. It was necessary to reflect the greatest shifts that took place in our country, the grandeur of the revolutionary events and the heroism of their participants, capture the image of the leader of the revolutionary masses of Lenin.
In 1922, the Association of Artists of Revolutionary Russia (AHRR) was created, which united advanced realist artists. Artists Ahrra raised the question of the wide propaganda of art.
"Art in the masses" was their slogan. Over the ten-year period of its existence, AHRR organized 11 art exhibitions on a wide variety of topics: "Life and life of workers", "Corner of Lenin", "Revolution, life and work" and Mn.Drugye.
As can be seen from the names of these exhibitions, artists believed all: the revolutionary activity of Lenin and the heroic struggle of the Red Army in the Civil War, the new life of the Soviet people and the life of the Peoples of the Soviet Union.
Young artists went to the factories and factories, in the villagers and the remote areas of our Motherland, young artists went. They wanted to feel the beat of the pulse of the new life, her mighty flow and scope ...
This deep and inseparable connection of Ahrra artists with the life of the people caused a living interest in their pictures. Very soon, the Association includes masters of the older generation, such as N. Kasatkin, A. Morave, P. Radimov, Young Artists N. Terratikhorov, B. Johanson and many others. With a huge inspiration and creative lift, they began to create new paintings.
Leading topics in painting of these years - themes of the October Revolution and Civil War. In the formation of the Soviet genre painting, these topics played almost the same tremendous role as in the development of Soviet artistic literature. Artists Ahrre correctly understood the great educational importance of paintings on the topics of the heroic struggle of the Soviet people.
The glorification of the heroism and courage of the soldiers of the Red Army dedicated his work M. Greek, the largest Soviet battalist, the chronicler of the civil war. His paintings: "In a detachment to the Budenny", "Tacank" and others are the bright pages of the glorious history of the Soviet people.

In 1913, the Greeks wrote pictures on topics from the history of the Grenadier, Kirassir and Pavlovsky regiments. By participating in the First World War (as an ordinary), there was a lot of sketches on the front. The Great October Socialist Revolution gave the artist the opportunity to reveal the power of his talent. Having entered a volunteer to the Red Army, the Greeks witnessed the heroic struggle of workers and peasants with counter-revolution and in its bright sketches and paintings captured the legendary combat campaigns of the famous 1st equestrian army. The paintings of the Grekova bribe the simplicity and sincerity of the narrative are distinguished by the accuracy of social characteristics and deep realism of the image. In the battle paintings, Grekova always sounds a pathos of the heroic, just People's War. He summarizes the material of its immediate observations, but remains documented. Greeks saturates their works by a sense of patriotism. His creativity is an example of Bolshevik ideological art. Deep and high mastery led to the wide popularity of its works. Dynamic composition, accurate drawing and harmonic tonality of his paintings give them a wonderful completion and expressiveness. The creativity of Grekov marks one of the largest achievements of the art of socialist realism. Greeks develop the best traditions of the Russian battle genre.

The events of the Civil War are reflected in the work of artists M. Avilova, A. Deneki and many others. The famous officer of the Communist Party wrote:
"At Ahrra's exhibition, the tens of thousands of workers and the Red Army came to the genuine delight, reaching enthusiasm at the sight of scenes from the Civil War, transmitted sometimes with the realism of extraordinary power."
An outstanding role in the development of the Soviet historical and revolutionary painting belongs to the artist I. I. Brodsky, who managed to capture the greatness and grandeur of the historical events of these years. His paintings "The solemn opening of the II Congress of the Comintern at the Uritsky Palace in Petrograd", "Shot of 26 Baku Commissioners" and "Speech by V. I. Lenin on the Putilovsky Plant" were a significant milestone on the way to create a new Soviet historical picture.

The October Revolution opened in the Brodsky wizard of large-scale multifigure cloths. The cycle of the "Revolution in Russia" is thinking - the enthusiasm of the artist who has become an eyewitness of great events. In this cycle he wanted to "meet the greatness of our era, calmly and simply, the language of realistic art to tell about the great affairs of the revolution, about her leaders, heroes and ordinary fighters." The first picture of this cycle was the huge (150 characters) of the "Grand Opening of the II Congress of the Comintern", the second - "execution of the 26 Baku Commissioners". The artist's arsenal is also tragic paints, its method is enriched with historicism, artistic imagery - documentary. In the process of work, Brodsky studies all the necessary historical and iconographic material, eyewitness testimony, leaves for events. So, working on the picture "Grand Opening ...", he fulfilled hundreds of portrait sketches with leading figures of international working and communist movement. Now these workshops graphic portraits are invaluable historical and artistic material.

Petrov-Vodkin

Petrov-Vodkin invariably preferred to remain out of the caster, the closet of loved ones are not in danger in the policy, in which "the hell himself will leaving." However, the October coup of 1917 he takes enthusiasm. He immediately agreed to cooperate with the new government and became a professor at the Supreme Art School, he begins to teach in the Petrograd Academy of Arts, repeatedly issues theatrical productions, creates many picturesque cavetles, graphic sheets. The revolution was a grand and terribly interesting business. The artist sincerely believes that after October "Russian man, despite all the flour, will arrange free, honest life. And all this life will be open."

Petrov-Vodkin from the first years of the revolution was an active participant in the artistic life of the Soviet country, since 1924 he was in one of the most significant artistic societies - "Four Arts". He gave a lot of effort to teaching, developing painting theory. He was one of the reorganizers of the art education system, a lot has worked as a schedule and theatrical artist. He became a deserved artist of the arts of the RSFSR, called himself a "sincere companion of the revolution," but still he was not an artist who would fully suit the Soviet power. The symbolist with the Paris school, the icon painter in the past, who did not conceal his interest in the icon and in religious art and in the era of militant materialism, did not fit the format of the Soviet sacratles. And maybe it would share the fate of many talented people who have gone into the gulag.

Repeatedly referring to the theme of the Civil War, Petrov-Vodkin sought to capture the events in their historical meaning. In 1934, he created one of his last strong paintings "1919 alarm." The artist found it necessary to explain in his interview in his interviews and conversations in detail its idea: the picture shows the worker's apartment, located in the city, which threatens the White Guards. The worker's family is engaged in anxiety, and this is not just a human anxiety, but alarm class, which is called to the fight. It should be assumed, he did not try with explanations, because without them everything that happened could be interpreted completely differently. At least, the main thing here is not at all 1919, the main thing is anxiety, anxiety with a capital letter, which is the main character and item of the image. Anxiety for the fatherland, for human destinies, for the future of children in 1934 acquired a different meaning than in 1919. A picture with St. Petersburg workers, which in the midst of the nights cause to the militia is perceived as the premonition of Stalin's terror with its night arrests. In later works, Petrov-Vodkin departs from the laconisms of his former paintings. He writes multifigure compositions, complements the plot of many details. Sometimes it begins to interfere with the perception of the main idea (this is the last picture of the "housewarming" on the topic "Seals of former bourgeois", written in 1938).

Kustodiyev

Kustodiev was among those artists-realists of the older generation, which happily accepted the revolution. New topics inscribed in his work, inspired by the rapid events of those years. The first work of Kustodiev, dedicated to the revolution, depicts the day of the overthrow of the tsarism and is called "February 27, 1917." The events seen by the artist from the room window on the Petrograd side, retain the brightness and persuasiveness of the immediate life impression in the picture. Walking winter sun lights a brick wall at home, penetrates clean, fresh air. A thick crowd of people is moving, bristly with guns. Run, waving their hands, raise the caps into the air. Festive excitement is felt in everything: in a rapid movement, in blue shadows, swamming on a pink snow, in dense, light clubs of smoke. The first direct reaction of the artist for revolutionary events is still visible.

Two years later, in 1919-1920, in the painting "Bolshevik" he tried to summarize his impressions of the revolution. Bustodiev applies a typical method of generalization and allegory. In the narrow Moscow streets thick, the crowd pours crowd. The sun creates snow on the roofs, makes blue and elegant shadows. And above all this, above the crowds and houses, the Bolshevik with the banner in his hands. Write paints, open and sonorous red - everything gives a canvas a major sound. "
In 1920-1921, on the order of the Petrogradsky Council, Kustodiev wrote two large colorful canvas dedicated to people's celebrations: "A holiday in honor of the second Congress of the Comintern on the Square of Uritsky" and "Night holiday on the Neva".