The culture of Leningrad during the blockade. Class hour "Art of the Blocade Leningrad"

"During the war years, our people defended not only their land. He defended world culture. He defended everything beautiful, which was created by art, "─ wrote Tatyana Tass. Indeed, Soviet people sought to preserve and save from fascist barbarism. All the cultural heritage, which they remained from the masters of the past. After all, the German occupiers subjected to ruin not only Leningrad himself: many suburban cities suffered from their hands. World famous monuments of Russian architecture were destroyed and looted.

Pushkin's palace-museums were taken out an invaluable amber room, Chinese silk wallpapers, gilded carved decorations, ancient furniture and a library. Palace in Pavlovsk also plucked up after the Germans visited: he lost his sculptures, part of the collection of the rarest porcelain of the 18th century, parquet, representing a huge artistic value, bronze door jewelry, bas-reliefs, tapestries, some wall and ceiling plafoons.

But more than in others, the fascists hurt in Peterhof. The large Peterhof Palace, laid back at Peter I, was burned, and the property was looted. Hasive damage was inflicted by Peterhof Park. Statue-Fountain "Samson, Ringing the mouth of a lion" was painted on the part and exported to Germany. In the upper and lower parks were removed the fountain Neptune, the sculptural decoration of the terrace of a large cascade and other valuable sculptures.

The State Hermitage, although he was not subjected to fascist vandalism directly, that is, from the inside, but his treasures were under a considerable threat, therefore the salvation of his exhibits was the task of paramount importance. The director of the famous museum in those years was an outstanding orientalist, academician of the USSR Academy of Sciences Iosif Abgaarovich Orbelli, who later recalled how from the first days of the war all the staff of the Hermitage did not stop hands working over the packaging of exhibits, spending on food and rest for no more than an hour. The work went continuously, day and night, for eight days. Museum staff helped a huge number of people who used to be only a visitor in these halls, but who was not indifferent to the fate of the tests of history. These were artists, sculptors, teachers, employees of scientific institutions and many others. They crushed to allow them at least to the greatest work. As a result, on July 1, the first echelon was sent with exhibits, and on July 20, sent the second.

Hermitage values \u200b\u200bwere exported to the rear when accompanied by some Museum staff, but his directorate "had to withstand the struggle with people who refused to go to the safe areas of the country, just not to part with their native city and with their native museum. To leave the walls of the Hermitage and the Winter Palace nobody wanted. "

In the halls of the Hermitage, there were only those objects that had a secondary meaning, or too bulky collections (one of them ─ a famous collection of historical crews), which was too difficult to take out. A small group of employees kept collections, packed and moved to safe storage rooms and basements. But from continuous air strikes on the museum building (more than 30 shells hit) and constantly blowing water pipes exhibits with an excreated and weakened museum workers had to be transferred from the basement to the basement, from the hall to the hall countless times, because the antique items did not tolerate either high humidity, nor Cold air. But for all the time the blockade no significant exhibit has been lost, spoiled or destroyed.

Hermitage rapidly empty, but did not forget his destination. In the Feldmarsh Mal Throne and the coat of arms of the Winter Palace, a large exhibition was operating dedicated to the heroic prostate past of the Russian people. In the Gallery of the Patriotic War, 1812 could see the mundair of the Great Mundar of the Great Swedish Swedish bullet, a gray hiking surpetuation of Napoleon, Cutuzov's uniforms, etc. In the coat of arboine hall of the Winter Palace, the Zamed of the Swedish king Charles XII, Prussian King Friedrich, Napoleon ─ Trophies of Russian Warriors Iosif Abgar Orbeli also prepared a celebration on the occasion of the 800th anniversary of the Azerbaijani poet by Nizami Ganjevi, which took place on October 19, 1941. When Joseph Abgagarovich hinted that it was soaked in this time, first of all, unsafe, but there are other reasons why the celebration of this round date can be torn. In response to such words Orbella stated: "An anniversary should take place in Leningrad! You think ─ The whole country will celebrate the anniversary of the Nizami, and Leningrad will not be able to! So that the fascists say they threw us an anniversary! We have to spend it in any way! " And spent: from the front two orientalded, read poems of this outstanding Azerbaijani poet, moreover, both translated into Russian and in the original; Speech, reports about life and creativity by Nizami were pronounced, set up a small exhibition from what was not exported. The director of the Hermitage was designed with an accuracy of a few minutes of the event: the anniversary was started and completed neatly between the two art fixers.

Two months did not pass, as on December 10, 1941, at 4 o'clock in the afternoon, another identity meeting took place in the Hermitage premises, this time dedicated to the 500th anniversary of the Great Poet of the Middle East Alisher Navoi. The introductory word for this event was such:

"Already one fact of honoring the poet in Leningrad, besieged, immigrained to suffering from hunger and impending jerky, in the city, which the enemies are already dead and bleed, once again testifies to the courageous spirit of our people and his intimidable will ...".

In the fall of 1941, the government offered the command of the North-Western Front and the leadership of the Leningrad party organization to ensure departure from a blockade city to a large land of large figures of science and culture. The lists of the Gold Foundation, as the list of names of the outstanding Leningrad residents were called, began with Professor I. I. Janelidze ─ the chief surgeon of the fleet, corresponding member of the Academy of Sciences of the USSR, Lieutenant General of the Medical Service. On request to leave the precipitated city of Gianelidze replied: "I will not leave any of Leningrad!" The same answers were the answers of many other figures that were in the "Gold Fund".

Artists who were working in blockade, also tried to contribute to the common cause of the fight against fascist fascinarian. In early January 1942, an exhibition called "Leningrad in the Days of the Patriotic War" was arranged, on which 127 paintings and thumbnails were 37 artists. In the exhibition hall there was a ten-grand frost, and the participants of the exhibition could hardly move. Especially tragic fate of the artist Hertz, who brought two sketch from Vasilyevsky Island, one of them ─ in a heavy gilded frame. "The pictures should look good," he said. On the same day, Herz died of dystrophy in the exhibition's hall.

Later, the work of Leningrad artists: Drawings N. Dormidontova ("at the water", "in the courtyard", "turn to bun", "cleaning the city", etc.), drawings A. Pakhomov ("lead to hospital", " Water ", etc.) exhibited in Moscow. Artist P. Sokolov-Skal, being impressed by what he saw, wrote: "The image of an angry, decisive, torn bayonets of the city, images of the heroism of ordinary, yesterday still peaceful people, images of selfless courage and resistance of children, women and elders, workers and scientists, fighters And academics get up in all the greatness on this modest size, but deeply by dramatism of the exhibition. "

Spring of 1942 opened a new page not only in the life of the Leningrad residents themselves, but also the cultural life of the city. The cinemas began to open everywhere, a concert and theater life resumed. In March 1942 in the building of the Theater Academy. A. S. Pushkin took place the first symphony concert. Although it was terribly cold in the room, and everyone sat in the upper clothes, but, listening to the great music of Glinka, Tchaikovsky, Borodin, no one paid attention to these inconveniences.

Among all entertainment establishments, the entire period of the blockade was worked out by the Leningrad Musical Comedy Theater, which gave 2350 concerts for front-line and citizens. The N. Yanet, headed during the war of war, for 1941-45 he submitted 15 prime ministers to the public. In 1942, two most significant premiere performances took place: the operetta on the partisans "Forest Friend" A. A. Loginova (Premiere ─ June 18) and the musical comedy "stretched the sea wide", dedicated to the 25th anniversary of the Great October Socialist Revolution (Premiere ─ 7 November) and the narrative of the parties and their heroic struggle (setting V. L. Vitlin, L. M. Kruitsa, N. G. Minh).

We know a lot of literary works dedicated to the Great Patriotic War, in particular, defense and blockade of Leningrad. For example, the cycle of the "courage" poems Anna Akhmatova, which the siege found in the beloved city. Akhmatova was already seriously ill when she was evacuated to Tashkent. Another outstanding Leningrad poetess, Olga Bergholts, did not leave his hometown at all. All the creativity of Olga Fedorovna is imbued with warmth, even by that very unsightly Leningrad in the winter of the 41st (Poem "Your Way"), an infinite faith that he will not perish, he will return and become the oldest one, as well as his inhabitants (the poem "conversation with a neighbor "and so on.). She constantly performed on the radio along with colleagues-poets Nikolai Tikhonov, Mikhail Dudin, Vsevolod Vishnevsky. N. Tikhonov somehow said that at such a time muses could not be silent. And the muses said. They spoke to the hard, but truthful word of the patriot. In his poem, "Kirov with us" Tikhonov drew into the poetic form of the crime and the aspirations of all Leningraders:

"The enemy could not mascere us,

Hunger wants us to take,

Take away Leningrad from Russia

In full of Leningraders pick up.

There will be no such thing

On the Nevsky Saint shore,

Workers Russian people

Umpt, you will not give up the enemy. "

Another famous Leningrad Faith Inbean in his poem "Pulkovsky Meridian" is still more radically, which, however, is not devoid of its logic. The poetess with hatred writes about fascism, predicted ambulance and inevitable death, as well as an expressing desire to avenge all the raising of the Nazis:

"We will avenge everything: for our city,

Great Creation Petrovo,

For residents left without bed

For the dead, like a tomb, Hermitage.

For the death of Peterhof "Samson",

For bombs in the Botanical Garden.

We will be afraid for young and old:

For old people who bent the arc

For Children's Gulgarian, Makhonsky,

No more violin case.

Under the shots, in the snowstorm,

On Santochki, he made his way. "

However, the most significant cultural event in the blockade Leningrad was the execution of the 7th Symphony of D. D. Shostakovich, ended in December 1941. "Our fight against fascism, our coming victory over the enemy, my native city ─ Leningrad I dedicate my 7th symphony," I wrote Shostakovich on the partition to his work. In March 1942, she first sounded in the Bolshoi Kuibyshev Theater (now ─ Samara), and then ─ in Moscow. On August 9, 1942, the symphony was first performed in the Leningrad State Philharmonic. This was preceded by the full danger shipping by air; replenishment of the composition of the orchestra of those who fought on the front; The change in the format of execution associated with the threat of airline (by the plan of Shostakovich, after the first part there should be an intermission, and the remaining three parts are executed without a break, but then the symphony was played at all without intervals); Only five or six rehearsals before execution. But still the concert took place! This is how Leningradka N. I. Zemtsova is remembered for the blockade of the event: "When we saw posters on the streets that there would be a concert in the philharmonic, we did not remember themselves from joy. We could not imagine that we will sound the seventh symphony of Shostakovich. It is difficult to describe an extraordinary environment, happy faces of people who came to Philharmonic as a huge holiday. Musicians took their places. Dressed they were who in what. Many in Soldier Schinles, in army boots, pressurs, gymnastrics. And only one person was in full artistic form ─ conductor. Karl Ilyich Eliasberg got up for the conductor console, as it was, in Thrake. He waved his wand. And the immaculate beauty and greatness of music sounded. We were shocked. Our feelings do not pass. And the whole concert passed the dead. Not a single alarm! " In the sky above Leningrad, everything was really calm: the 14th Guards Artillery Regiment did not give any enemy aircraft to break through to the city.

There was always a high level of development of science and culture. In 1941, it contained 152 scientific research institutions, 62 universities, where more than 85 thousand students were studied, 47 museums, 22 professional theater. The city worked well-known scientists, artists, writers, artists. In the years of the blockade there is a sharp decline in the number of scientific and cultural institutions.

As a result of evacuation, front care, high mortality, the number of employees also decreased. By February 1942, only 15 doctors of science remained in the city. Despite the extreme conditions, scientific and cultural life in the city continued. A. V. Bovov October 1, 1945, noted that on this day bombs rushed in the city, but films were shown in 25 cinemas and five cultural houses, and the theaters gave views. On October 26, in the theater named after the Lenin Komsomol, the Goldoni Comedy was a "funny case", where the main role was performed by Yuri Tollauyev.

Music life in the city also did not stop. So, on October 4, 1941, the Presidium of the Leningrad Branch of the Union of Composers was collected. They were approved by songs intended for solo and choral performance and written by Leningrad poets - "Song about Brinko" B. Goltz, "Ballada about Hanko" M. Yudina, "Moving" I. Dunaevsky, "Song of Marine Corps" N. Budashkin, Kirov "Kirov" L. Khoji Einatova. It should be noted that the blockadas who did not belong to the literary and artistic medium wrote a little about the cultural life of the city. Soboleva Nina Vasilyevna recalled the concert of Leo Oborin in Philharmonic: "The music that sounded then shook and for his whole life remained special -" Of those days ""

Music produced on people an unusually strong impression in that difficult atmosphere, art was much deeper. Panchenko Natalia Ivanovna sometimes wrote in his diary about the events of the cultural life of the city: "Was in the theater, I watched a" bat "with a very good composition: Mikhailov, Svidersky, Bondarenko, Brill, Kolesnikov, Journal ... In a word, who can only wish the soul."

In the first blockade winter in Leningrad, several institutions continued to work, and the State Public Library and the Library of the Academy of Sciences, the Theater of the Music Comedy were opened throughout the entire blockade. On November 7, 1942, the Music Comedy Theater released the premiere play "the sea spread was wide." The value of this theater was not detected in its patriotic orientation and not that he encouraged high feelings in people. The main thing was that he somehow supported the level of civilization of the Leningraders.

Cultural needs, even if primitive, helped get rid of the feeling of despair. Panchenko N. V. wrote once in his diary: "I would like to go to the movies right now to go to the movie or to the theater. I really want to see a good feature film. And in the theater I dream only about music. I really want something symphonic, loud. " In August 1942, the large hall of the Philharmonic was reopened. It was here on August 9, the Orchestra of the Leningrad Radiocomitte under the control of Charles Eliasberg was the famous Leningrad Symphony of Dmitry Shostakovich.

It is important to note that in the English and American press a significant attention was paid to the cultural life of Leningrad. So, for example, in Daily Worker, an interview with Dmitry Shostakovich was published, where he told: "The first three and a half months of war I stayed in my native Leningrad. As a Front Citizen performed different tasks, for example, as part of the MPVO group on duty on the roof of the Leningrad Conservatory, having studied the incendiary bombs extinguishing. I have seen

on the wings of German bombers, the devilish signs of the swastika and heard a horrible upset of falling bombs. I visited the front line, performed my works there, told the front-line about the nearest creative plans. I saw people who stopped fascist hordes at the gate of Leningrad-pilots, artilleryrs, sailors and infantrymen, tankers and the supplies-and adopted their heroism. And at this time I worked on the seventh symphony, which I began to compose in July, and finished December 27th.

It is devoted to the military events of 1941. Of course, this does not mean their detailed reflection, rather, this is an interpretation of the military theme. " A. V. Burov also commented on August 9, 1942: "The military musicians were included in the Radiocomit Orchestra, specially subdued from parts to participate in the execution of the seventh symphony. All 79 performers played with an extraordinary lift. When the last chords were rebounded and the standing in the hall was applauded, a girl of twelve years rose on the scene. She handed the flowers to the conductor. Karl Ilyich Eliasberg was touched to the depths of the soul. Flowers grown in a deposited city were truly invaluable ...

In a note embedded in a bouquet, the family of Leningrads Schnitikov thanked the orchestra for the wonderful performance of the symphony. " Despite such a complex situation in 1941-1942. Leningrad cinematographers filmed films. Many of them were trained and should have been able to solve the practical tasks set by the war. By November 19, 1941, Lentechfilm film studio completed 15 documentary films. So, for example, such film guides were issued: "Take care of pieces and properly spend it", "the elimination of defeats from fugasovy bombs", "How to protect the attic from the incendiary bombs", "crossbar". By the fall of 1942, 20 more films were shot. They also wore the character of documentary. Cinequimalism was also widespread, capturing the feat of the residents of Leningrad. Film "Leningrad in the fight",

shot by 20 film operators on the scenario of E. Teachers, N. Komarevtsheva in 1943 was marked by the Stalin Prize. However, almost all cinemas closed in the first blockade winter. But on March 4, 1942, the cinema "Youth" opened, where the film "The defeat of German troops near Moscow" was opened. By the autumn of the same year, 21 cinema worked in the city. The war on the destruction proclaimed by the Germans threatened the very existence of a magnificent architectural and art complex, which Leningrad was.

Inspection on the protection of monuments and art administration, a significant work was carried out on the collection of documentary materials to restore monuments in the event of their death, maintaining materials for the study of Russian architecture. In 1941-1942, there was an inventory of 50 major architectural ensembles of the city and measurements were made. Inspection forces were manufactured projects for the restoration of a number of Leningrad architectural ensembles. The State Inspectorate for the Protection of Monuments shows which operational measures were taken to cover the monuments, masking of spiers and domes, the preservation of buildings affected by bombing and art rigs, the salvation of private assembly.

Monuments were covered: Lenin at the Finnish station, Nicholas I in the square of Vorovsky, Amur and Psyche, a monument to the wing, a vase in the summer garden. They were buried in the ground there were all sculptures in the summer garden, as well as in the parks of suburban palaces. From urban monuments were buried: a monument to Peter I at the engineering castle, a monument to Alexander III, the sculpture of Anna Joanovna, the sculpture of Dioscurov, horses with Annichkina Bridge, Monument to Chernyshevsky. In the salvation of unique documents, books, many researchers took part in the collections. Thus, thanks to the dedication and courage of the scientific personnel of the blocked city, which did not cease to find a scientific decision of the scientific solutions of topical issues, scientists managed to provide all-time assistance to the defenders of Leningrad on the advanced borders of defense and alleviate harsh

bidders of its inhabitants. Cultural and educational institutions of Leningrad during the blockade was the centers of the city's cultural life. Their value in military conditions has increased immeasurably. In extreme conditions of war and blockade of science and cultural figures, the tasks of the preservation and protection of the historical and cultural property values \u200b\u200bhave successfully solved.

The experience of their activities is a certain interest for use in modern conditions. During the blockade of Leningrad, lack of food, hunger and disease, Leningraders showed high-impaired humane qualities, which confirms the possibility of overcoming social conflicts in extreme conditions.

Bibliography:

1. Leningrad blocade in documents of declassified archives / Ed. N.L. Volkovsky. -Spb.: Publishing House Polygon, 2005. - 766 p.

2. Burov A.V. Blockad Day after day [Electronic resource]: URL: // http://blokada.otrok.ru/library/burov2/index.htm (date of handling 05/26/2016).

3. Volkova A.V. 900 Blocade days: Collection of memories. - Novosibirsk.: Publishing house of our town, 2004. - 326 p.

4. Diary Panchenko Natalia Vasilyevna [Electronic resource]: url: // http: // www.inoforum.ru/inostrannaya_pressa/872_dnya_v_okruzhenii_bolee_milliona_pogi_bolee_muelioyatnyj_primer_muzhestva_i_geroizma / (Date of appeal 25.05.2016).

5. Kutuzov A. V. Blockada Leningrad in the Anglo-American Press (1941-1942) // Bulletin of St. Petersburg State University. - Ser. 2, - Vol. 2. - 2010. - P. 24 - 31

6. Ponomareva E. A. Blockada Leningrad in orders at the conservatory // Musicus: Bulletin of the St. Petersburg State Conservatory named after N.A. Roman Corsakov. - 2011. - №.3 - 4. - P. 3 -7

7. CGA St. Petersburg. F. 7384. OP. 17. D. 598. L. 21-37. Script. .[Electronic

8. Resource: URL: // http: //blockade.spbarchives.ru/section_9/document_213.htm l (reference date 05/27/2016). 9. Tsagali St. Petersburg. F. 243. OP. 2. D. 174. L. 357-358. Original [Electronic resource]: url: // http://blockade.spbarchives.ru/section_9/document_203.html (date of appeal 05/27/2016). 10. Tsagali St. Petersburg. F. 243. OP. 2. D. 189. L. 116. Reclinker. [Electronic resource]: URL: // http://blockade.spbarchives.ru/section_9/document_215.html (reference date 05/27/2016). 11. Yarov S. V. The daily life of a blockade Leningrad. - M.: Publishing House of Young Guard, 2014. - 312 p.

Translated by M. Tarlovsky, September 1941

Prose

• Vera Inbert, Almost three years (Leningrad Diary), Soviet writer, L., 1947
• Olga Berggolts., Day stars, Soviet writer, L., 1959
• Alexander Borisovich Chakovsky, Roman "Blockada" (KN. 1-5, 1968-75; Lenin Prize 1978)
• Mirror
• Alexander Borisovich ChakovskyIt was in Leningrad
• Tamara Sergeevna Qingberg, "Seventh Symphony", Tale - L., Children. lit., 1969.
• Nikolay Korneevich Chukovsky Roman "Baltic Sky", 1946-1954, publ. 1955, the same film 1960. About the pilot fleet pilots, defenders of the besieged Leningrad.
• Panteleev L., In a besieged city. Live monuments. / Collected works in four volumes. Volume 3. l.: Children. lit., 1984.
• Mikhail Stulaki Roman "Eternal Bread", 1984. Ed. Soviet writer.
• Ginzburg L. Ya.True characters: prose of military years. Notes of a blockade man. M.: New Publishing House, 2011.
• Nina Rakovskaya, Boy from Leningrad, state. Publishing House of Children's Lit-Ry, L., 1945.
• Arif Saparov, The road of life. L.: Lenzdat, 1947.
• Arif Saparov, January forty second. From the blockade Leningrad chronicles. L.: Soviet writer, 1969.
• Victor is a detailed who looks at the clouds. The first edition is the mid-1960s.
• Nikolay Tikhonov, Leningrad takes a fight. L.: Goslitizdat 1943. 416 p.

Modern poetry and prose

• Polina BarskovaLive paintings. Spb. Publishing house Ivan Limbach, 2014.
• Sergey Anufriev, Pavel Pepresteinchapters from the novel "Mythogenic Love Cast" (1999-2002)
• Andrei Turgenev, Sleep and believe: blocked novel. M., 2007.
• Sergey Zavyalov, Christmas post, poem (2009)
• Igor Vishnevetsky, Leningrad, Tale (2009)
• Polina Barskova, poetic cycle "Directory of Leningrad Writers-Frontovikov 1941-1945", from the book "Message Ariel" (2011)
• Boris Ivanov , Beyond the walls of the city. Deserter Vedernikov, Tale (2012)
• Kirill Ryabov, stories from the book "Corpov burner" (2013)
• Irina Sandomir, "Blockade in the Word. Essays of the critical theory and biopolitics of the language. " M.: New Literary Review, 2013.
• Gennady Alekseev, Verlibr "Firebird"

Music

• Dmitry Dmitrievich Shostakovich, Symphony No. 7 "Leningrad" (1941-1942)
• Boris Vladimirovich Asafiev, "Diffilage Great City" (1941), "Sadness and Tears" songs (1941) for Solo Piano, "Canta of the Unforgettable Memory of Alexander Dmitrievich Castal" for Mixed Choir A Capella (1941-1942) on church-house texts
• Gabriel Nikolayevich Popov Symphony number 2 "Motherland" (1943, conceived in the winter in winter 1941-1942 in a besieged city)
• Boris Ivanovich Tishchenko, Symphony number 5 "Chronicle of Blockada" (1975)
• V. Kudryashov (music), M. Ryabinin (words), isp. Villy Okun and Ensemble, Papin Waltz
• Songs of the group "Splin" "Blockada", "Waltz" and "Orchestra".
• Song of the British Rock Musician Blaise Bailey City of Bones with Album Promise and Terror (2010)
• Chris de Burga Leningrad's song
• The Album "The Diarist" (2006) of the Italian group Dark Lunacy is fully dedicated to Leningrad's blockade.
• Song and video clip of the group "The largest simple number" (SBPC) - "Blockade"
• Song "Unlocked" rock bands "Kipelov" from the eponymous single
• 09/08/2012 The victims of the victims of the blockade of Leningrad took place the premiere of the third symphony (military) Op.13 of the composer Alexei Kurbatov in the Big Hall of Philharmonic (St. Petersburg), orchestra under the control of Igor Ponomarenko. Symphony was broadcast on the squares of the city in the literal air.

Monumental art

Many artists were directly followed by the instructions emanating from the CBP (b) committee and the front political enforcement calling on the bayonet to equate the feather, and turned their art to the mighty campaign. Picturesque works written in blockade are far from being so numerous as graphic works. Battle paintings include numerous works created at this time by painters on the LSSH orders depicting the episodes of battles who had a place during the battle for Leningrad, the events occurring at the front, fighting partisans, and also raised the topic of the heroism of the city defenders. Official orders artists received on writing "military portraits", while many fighters came to pose directly from the front, receiving a short vacation. Other orders were portraits of Stakhanov and the labor life of citizens, many less often - the events of Russian military history. The works chased the durability and courage of the defenders of the city, carried the promise of victory. Among the artists who worked in this direction, the most famous were V. A. Serov, S. Veresky, I. A. Silver, N. Pilshikov, V. A. Vlasov, V. I. Kurdov, and many other masters. A series of 24-lithographic works A. F. Pakhomova "Leningrad Chronicle", completed in 1947, after the war was awarded the State Prize.

Since the beginning of the blockade, a poster becomes the most popular and massive type of art; One of the first posters appeared in the city was made by V. V. Lebedev, in the past, famous master of this genre, in 1919-1920, who worked on a series of posters "Petrograd Growth" posters. At the beginning of the war, no more than five people worked on the poster, whereas by August the number of posterists came to fifty, they worked in the renewed "TASS windows" and for the combination of the combat pencil. The posters had a strong impact, appealing to passersby from the walls: "Death of Detubits", "destroy the German monster." In addition to the leaflets of the "combat pencil" and posters, loopholes, postcards, and portraits of the heroes of war were produced in large circles. Postcards, which took up up to 25 thousand were devoted to the military topic. In the war years in the blockade Leningrad, book graphics could not find work, the activities of most publishers were almost paralyzed. So postcards have become overwhelmed first of all, a possible source of earnings. The blockade life was reflected, however, and in these plots - a "woman, binding mittens for fighters" could become the theme for the postcard.

All the time the blockade was active exhibition activities, the first exhibition was opened on January 2, 1942. Blocked exhibitions, until 1944, were simply simulators (people 15-18 per day), including not only due to the fact that in the first place people had survival issues. Thematic paintings wrote artists of socialist realism, which, in contrast to the "critical" realism of the 19th century, did not provide critics. "During the war, N. N. Punin compared the means of exposure to art with weapons. It is impossible to host military actions of the past ... There were orders. These were the so-called thematic paintings. And there was a contingent that easily fulfilled these orders, their artists were half proposed. They worked on an increasingly undemanding taste of the bosses. Having defined, but rather crafts, they filled out the exhibitions with their products, from which a person who wanted to see genuine painting, became sissing ... Something dead, frozen looked from the walls of exhibitions in St. Petersburg ... and this The process did not stop. At the exhibitions, everything was becoming more and more gray .. "

The creative positions of Leningrad artists were divided.

Already in the late 1930s, the academic hierarchy of genres "is restored", artists turn straight to power (in official canvases) or to colleagues (solving plastic problems in portraits and in still lifes). Works prevailing in blockade art, representing the landscape and the household genre.

In genre painting (and graph) in the first years of the blockades are dominated by tragic and dramatic themes; Scene-narratives appear by 1944. Historians allocate two lines of this genre - one, with an accented plot, or with the disclosure of the topic through the image of one person, and it is precisely the portrait task that does not put the artist. The second line of development of the genre is a type of landscape, often urban, with elements of genre action entered into it. Another topic was "events that happened at the front or in the enemy rear"; These works, according to historians, also, or to a domestic genre, with a clearly pronounced plot basis, or to the "military" landscape.

Daily life of the city

A significant part of the work created in the blockade was drawings that were working in nature. Part of them was made sketchously, but in many cases these are complete, thoughtful individual things. Most of these works are far from being encouraged by the regional "military official", and from optimism. They reflect the life of the inhabitants of the city opposing the adversity of heavy years. Often the topic of these works are pains of suffering and grief.

Most of the blockade graphics (and partly and painting) is inventory drawings, and divided into groups - urban landscapes filled with people, more often desert, portraits and household sketches. Many of these works were made on state orders, most of them were acquired for the Museum of Defense of Leningrad.

One of the dramatic images is characteristic of a blockade winter, repeating in many works - a man who is durable Sani Street with the body of the dead man. Themes of Watercolors P. M. Kondratyev were cleaning street fences, ambulance maps, squeezed in ice trucks; Works S. S. Boyma - Cleaning snow on the streets, queues in bakery, harvesting and unloading of firewood, evacuation of children, hospital, Christmas market in December 1941. On the drawings of N. M. Bullyov-Protopopova are shirling at dystrophic stoves, street barricades , girls, fusing masking networks, teenagers, ondoor on the roofs, and the accumulation of coffins at the gate of the Oktensky cemetery. I. A. Vladimirov is known for its cycle of documentary sketches of the events of 1917-1918, the second such such cycle he made in blockade, his topics this time was the cleaning of corpses on the streets, "death road". The plots of L. I. Gagarina were kicked people sitting at the smokers, cleaning snow from the streets, plots T. N. Glebova - People sitting in a bomb shelter, horse police, analysis of the collapsible houses after the climb, the crowds sitting on the streets among their things , dystrophy, dinner in the satisfying union of artists. L. N. Glebova painted the face of blockade children and women with children's grudges on sledding. E. M. Magaril painted people in hospital hospital, K. Kid - Children's corpses on the streets, and - salute in honor of the relief of the blockade in 1944, A. E. Mortrenova - people who help stew fires, a woman with a newborn, sitting Burzhuyki, public tea, V. V. Sterligov - wounded in the hospital, A. G. Tragot - Transition through the frozen Neva, S. N. Spitsyn - Glass of schoolchildren, students Schsh, T. Coopervasser - Nurse in the hospital, E. I . Higer - repair heating. A. N. and V. N. Peshkany wrote prisoners under Shlisselburg, echelons delivering the city fuel. A. L. Rotach - Fire in Zoological Garden, Ya. O. Rubankik - Gargets at Isaac Cathedral, water intake and frozen transport, bags with sand, air alarm, queue in a tobacco shop, the mountains of things taken with them evacuating, folded from the Finnish station , A. I. Rusakov and A. F, Pakhomov in the winter of 1941, made natural sketches of people dyner from dystrophy in the hospital F. Erisman.

L. A. Ilyin drew the explosions on the streets (he soon died from one of them) and the corpses folded in basements. Plots M. G. Platunov are more tragic - murders and thefts on the streets that occurred from the sideways of bread, desperate suicides, frozen people on the street. Many, made in blockade, work can be attributed with confidence to the domestic genre, but not all, as artists it was impossible to take explosions on the streets and stacked corpses, as life.

The daily life of the city and portraits of the citizens was also the topic of works of P. I. Basmanov, V. G. Boriskovich, P. Ya. Zaltsman, V. V. Milyutina, V. V. Zenkovich, L. A. Ronchevskaya, A. I. Kharshak, M. A. Sheplevsky, N. Dormidontova, E. Beluhi, S. Moochalov. Worked in blockade and sculptors. Not all the works created in the blockade are preserved, many have been lost. By the military weekdays of the blocked city were devoted to the Blocade Work by Evgenia Evenbach. .

The artistic advantages of work were different, so, especially allocate the tragic cycle of work (linograph) Solomon Yudovin and the lithographic series of Adrian Kaplan, where he combines a household plot with the finest texture of the "multi-layer" pattern. In many blockade works of artists "Leningrad School" there is aware of the inconsistency of fixation, the desire to present the nature "as is", without expressive mood.

Some artists set a goal

"Draw as the chronicler .. as an eyewitness of things that many are not given to see, and many closes their eyes on them .." ".. I am engaged in art .. I do not have inspiration to describe the beauty of air battles. spotlights, missiles, explosions and fires; I know what horror this extravagan is caring .. "

Such works include the "Horror of War for the civilian population" and "siege of the city" T. N. Glebova, P. N. Filonov's student and the sequence of his "Analytical Method". .

Created in the blockade work itself became part of the history and the cause of new works of art. A series of drawings of faith Milyutina "Hermitage during the blockade" are known, depicting the empty halls of the museum, walls without paintings, fallen chandeliers. It was this series for the basis of the works of Japanese artist Yasumar Morimur "Hermitage. 1941-2014 ", in 2014, exhibited in the halls of the Hermitage about the time of the exhibition of Manifesta 10 and recognized" the most sensitive to the historical context of the Hermitage ".

A special place among the entire blockade art is the picturesque work of L. T. Chuynyova "Pokrov Virgin Over the departed city." She was written by the artist shortly before his death in a blocked city, September 8-10, 1941, when Badaevsky warehouses were burned in the city.

Blood landscape

"Many believe. What if the artist is engaged only by the scenery, he is distracted or deliberately moves away from the permission of great significant topics, while the landscape is confirmed by the entire story of painting, - plays a large social role. Landscape, essentially, is an era worldview. ", wrote G. N. Tragot. The blockade artists reflected in their picturesque and graphic works so that they were far from direct naturalism in the image of suffering. But they express them, first of all, the dying city itself.

The huge symbolic meaning of St. Petersburg, obvious and for his defenders, and for seeking to take his enemy troops, is also comprehended in a number of outstanding artistic works of high artistic expressiveness.

Artists who are on the verge of hungry death have created works combined later by researchers in a special genre of "blockade landscape".

The most piercing works were created by artists in the very first blockade winter, who left the strongest impressions from Leningraders.

The work of artists directly on the streets of a blockade city was not welcomed, nevertheless, many of the works created in the blockade belong to the city landscape genre. Working on the streets sometimes accounted for shelling. Many artists depicted the streets of the city during the art-rods destroyed by the explosions of the house, covered monuments.

Blocked landscapes wrote and painted M. P. Bobashov, B. N. Ermolaev, A. L. Kaplan, A. V. Kaplun, S. G. Neveršteyna, Ya. S. Nikolaev, A. P. Ostrumova-Lebedev, N . A. Pavlov, N. E. Timkov, N. Fitingof.

Among them, it is customary to allocate an architectural landscape, which is characteristic of the accuracy of reproduction of the object of the image. "Among those who painted them were many architects: I. S. Astapov, A. K. Barutchev, E. B. Bernstein, V. M. Izmailovich, L. A. Ilin, V. A. Kamensky, A. S. Nikolsky, M. A. Sheplevsky, L. S. Khizhinsky. Famous architect L. A. Ilyin except a series of landscapes, drawing a graphic diary, * walks in Leningrad " .

The extraordinary and terrible beauty of the blockade city was reflected in their works. First of all, artists of the Leningrad School - V. V. Pakulin, A. N. Rusakov, N. Tragott.

V. V. Pakulin before the war never wrote urban landscapes, and it was in blockade that the beauty of the city was opened. Many artists noted that in the winter of 1941-1942, Leningrad was especially handsome: sparkling innese, fixed and almost deserted. Pakulin created about fifty city landscapes, among them- "House of Books. Prospect October 25 "(1942)," At Admiralty "(1941-1942)," Hermitage. Jordanian entrance "(1942)," Prospect October 25. Spring "(1943)," Demidov Alley "(1943) .. In many of these works, a pearly gray gamma is used, reflecting the haze of the light-air environment.

The most famous from the picturesque blockade series G. N. Tragota his picturesque work "Kanoneck at the Winter Palace" 1942, "Neva with Pushkin House" 1942, "Petropavlovka" 1942, they depict desert squares, snow-covered streets, transparent air, neva, on which the military ships are. They created a watercolor blockade cycle. All his works are strict in color, their color gamut is to monochromicity. The feeling of "miracle", the ghosts are preserved even when the genre scene is turned on into the landscape. The artist does not write really terrible what was in the city at every step. The courageous attitude of his painting belongs to the sphere of high tragedy, it can also be said about the drawings ("Ice Sun of the blockade") The individual experience of the author grows up to the scale of heroic patter.

And I. Rusakov belongs to those rare artists who could survive the entire blockade. Do not stop working. He created the strongest picturesque portraits of the city, empty and destroyed, in the most severe time of the first winter for him; These works are often reproduced and exhibited. "Rusakov, apparently, felt a special significance of every written and visual testimony of" from within ", which academician G. A. Knyazev in his blockade diary." Hence the important property of his drawings. Made in 1942-1943. - They are detailed, and made as complete things. not outline.

The fundamentally chamber character of the blockade watercolors of Rusakov, and urban landscapes, and portraits, separates them from the famous series A. F. Pakhomov ("Leningrad during the blocks of blockade and recovery") or portrait series of S. Veresky. They do not have an intentional emphasis on heroism, or on suffering. The artist carefully records the daily life of the city.

Blocked portrait

An exceptionally important place in blockade art is occupied by a self-portrait. The main idea for the blockade autoportist is the opposition of life and creativity - death and destruction. Self-portraries wrote artists of different directions - P. N. Filonova, who died only in December 1941, - Artists P. Ya. Zaltsmanna (graphic self-portraits), T. N. Glebova ("Self-portrait", "Portrait of a family in blockade", 1941 , both - in the GTG meeting) - and series of tragic self-portraits V. P. Yanova, to works Ya. S. Nikolaev (1942) and A. A. Bantyova (1944).

The "blocked portrait" was fundamentally different from the picturesque portraits made on the state order, and always depicting a person who performs a feud, labor or military. To enhance the impression, the portrait was often waist or generated. Unlike them, "blockade portraits" have a different chamber. It can be portraits - types like women's images on P. I. Basmanov and V. V. Zenkovich. Often, native or close friends of artists become models for blockade portraits - as in the portrait of the artist E. Cool and T. Coopervasser, 1941, written by A. I. Rusakov.

To the same, chamber, genre also include portraits of the artists of the socialist method, V. I. Malanis (portrait of an old worker, 1943; Portrait of an artist Ivanova, 1943), Ya. S. Nikolaev (Portrait of M. G. Petrova, 1942, portrait of the artist Vikulov, 1942), N. Kh. Rutkovsky (Portrait of A. Frolova - Bagreva, 1943). One of the main differences between these works from the official custom portrait is to expand the range of traditions used. Departing from the canons of socialist realism, these artists appealed to French painting, to portraits of impressionists, however, completely changed the concept of color, changing it to consciously polluted. Although, in words, French impressionism in the Soviet criticism of the 1940s condemned.

Art of the post-war time

Cinema

Art films

• Blockade (epic):
  • "Luzhsky frontier"
  • Pulkovsky Meridian
  • "Leningrad metronome"
  • "Operation" Spark ""
• "Leningraders, my children ..." (Uzbekfilm, 1980)
• "Riddle Squean"
• "Old Friends"
• "Red Streptocid" (short, dir. Chiginsky, 2001)
• Marta line - film with Alice Freindlich (2014)

Documentaries

• Siege of Leningrad
• Leningrad blockade
• Seventh symphony
• Blocked tram
• Program investigation "Seekers"
  • "Witness of the Great Siege" (2005)
  • "Ghost Road" (2006)
• Documentary cycle "The investigation was" With Leonid Kanevsky
  • "Gaulyater Leningrad" (2008)
  • "The banner of Adolf Hitler" (2009)
• "Blockade", second film documentary cycle "Altar Victory"
• "Leningrad Front" (2008)
• "Blockada", author's program

The ancient believed that "when the guns say, the muses are silent." In the blockade Leningrad Muses were not silent.
In August 1941, almost all Leningrad theaters were evacuated. There were only a museuming and a symphony orchestra of radio cells. However, the theater of the folk militia soon emerged, which was then divided into the "Front Circus" and "Dance Agitetvod". Worked the theater of the Red Baltic Fleet. And in October 1942 a new urban theater was born, now the name of the Commissioner. Over time, the blocked city organized the opera and ballet troupe. The global sensation was the execution of the seventh symphony of Shostakovich in the philharmonic. Leningrad artists leveled to the front and even for the ring of the blockade.

With a shelling break

It was the operetta that had to go with Leningrad all his grave path. With the beginning of the blockade in the hall was semi-empty, but then the performances were walked with anchelages. Representations began at three or four hours in the day to catch up to the curfew. They were interrupted by air alarms and art fixers. No bomb shelter in the theater was not, the audience and actors were hidden in the neighboring building of the Philharmonic. After a forced break, the performance lasted.

It was not only a traditional repertoire: "Halfka", "Bayader", "Silva", from July to November, the troupe managed to prepare four premieres: "Eva", "Princess of Dollars", "Maritsa", "Three Musketeer". On the last performance behind the scenes died of depletion of the artist of Choir A. Abramov, there were other cases of hungry death - 64 people were killed in the theater. But never once has canceled.

On November 5, the bomb fell into the building next to the theater, he also suffered a lot, and the operetta began to give in Alexandrin. Heating was not, as the contemporary recalled: "In the hall - polar cold." The public was sitting dressed, but the artists had to play light suits. When Nina Pelzer's dancer felt that he clears his legs, she was discharged a couple of huge male boots.

In mid-January 1942, there was no electricity, the performances stopped. Then the artists went to the front and on the road of life. Zinaida Gabrielyanz recalled: "We rode in Ladog in a truck, covered with a tarpaulo. Frost - for 30 degrees, in the center of the body there was a tuber. The concert was given in a small dining room. I had to repeat the program without a break. At the seventh time we sang already sniffing voices and barely able to make a lightweight pyruet. But withstood. The main thing is here, in Ladoga, there was already bread! "

In March, theater resumed work. Every day, the entrance was postponed by the poster, the performances were given twice a day. Tickets were accumulating, especially since three hundred free tickets were meant to front-line and working defense enterprises. The playwright Vsevolod Vishnevsky, one of the creators of the operetta about the defenders of the city "spread the sea wide", was surprised: "The theater gives the Bitkovy fees and gives blockad to the nine hundred thousand profits." The performance was prepared for 22 days. And even on the day of the premiere, the city was rapid shelling, it took place. The leading artists presented baskets with potatoes, cabbage and chickens of bread. In its building, the Museum has returned in the fall of 1944.

Blocadey theater.

Since there were no dramatic and opera-ballet theaters in Leningrad, the authorities decided to create a new team that could work in different genres.

On October 18, 1942, the city Theater opened in the premises of the Comedy theater. Artists remained in the troupe. The first performance was the production of Russian people on the play of Konstantin Simonov. She went over 60 times! Once in the hall went out the light. Panic was not, but the artists were confused. And suddenly someone from the audience burned a pocket flashlight, then the second beam, the third, tenth appeared. The performance has done. Such cases were repeated until they installed the battery. The theater chose the plays about the war: "Front" of Kornechuk, the "invasion" of Leonov, "wait for me" Simonov. But "Marriage Balzaminova", and the "Water Day" appeared. And then - opera and ballet performances. The lightless name of the urban did not fit, Leningraders died the theater blockade.

Music has become a weapon

Dmitry Shostakovich met war in Leningrad and already in the first weeks began to write a seventh symphony dedicated to his native city. In mid-October, who weakened from hunger, with two juvenile children, the composer was evacuated in Kuibyshev, where he graduated from the symphony.

In July 1942, the partition was taken by a special aircraft to Leningrad. Litvinov's pilot broke through the fire of enemy anti-aircraft guns, but when she was a score in the radio, he fell under the shelling and was injured. However, the task executed.

It was necessary to start rehearsals, but 15 people remained in the radio orchestra. And more than 80 was required. Dali Announcement on the radio, Carl Eliasberg spent hospitals, even recalled musicians from the front. Collected 79 people. The first rehearsal lasted only 15 minutes, larger enough forces. Then the musicians began to receive extra hot lunches.

On the day of the premiere, on August 9, the fascists could not fill the city, because the commander of the Leningrad Front General Govorov gave orders to our artilleryrs to suppress their guns intensely fire. All 80 minutes while symphony sounded, there was no air alarm.
But it was 9 August according to the plan of the fascist command, the city had to fall. On this day, a parade of troops was even appointed. However, instead of German marches on loudspeakers were broadcast Lenin
Hoody symphony, they heard in ours, and in German trenches.

Karl Eliasberg recalled: "Music reserved. Applause rang out in the hall. God forbid I still hear such: the hands of people barely moved, the applause resembled dry rustle. But we understood that these were ovations in honor of the author of Symphony, in honor of the heroes-musicians. "

Tickets - on bread

Regular information about performances and concerts could be seen on poster stands, it was printed in newspapers. Of course, not all Leningraders were interested in cultural life. "We could not walk," remember many.

Nevertheless, as the contemporary testifies: "Tickets were bought up instantly, on the first day of sales ten days before the performance. An extra ticket was asked, ranging from Nevsky. On the square of the Alexandrinsky Theater - a whole crowd. " But then the impressions are negative: "Some live on the resale of tickets, and live quite good at the current times. I saw a citizen sold a ticket for bread: 200 grams of bread for one ticket for a third tier. " According to other testimonies, 400 grams of bread took the ticket. It is clear that for most it was impossible. But there were citizens who "could afford."

Yes, and in the hall among the dispersed and poorly dressed, Leningradians sometimes allocated people "in the body", with elegant ladies under the handle. They looked at the rest of the audience. But they did not define the block for the hall. As the singer Sophia Preobrazhenskaya recalled: "Creative forces in us poured communication with our remarkable public, with her faith in victory and courage."

In the fall of 1944, all Leningrad theaters returned from evacuation and resumed performances.

Further and then years of war are separated in time. A new generation has already grown, which only in the stories of the elders and the works of art familiar with these tragic events. Russians are a special people, because over the centuries, his character has stopped in the fight against enemies and invaders. We, schoolchildren of the turn of the XX-XXI centuries, it was very important to understand what people were felt in those years, and questions related to the difficulties dropped by Leningrad residents in the difficult years of war were worried. Of course, historical documents report the facts that are talking about the tragedy of people who lived and worked in a blockade Leningrad. However, more emotionally and bright, as we believe it is capable of telling art.

In our work, we tried to explore the works of Leningrad masters in the days of the blockade, working in the field of agitation art, painting, culture. The work of these people was closely related to the life of the city and the fighters of the Leningrad Front. The works of these masters raised the spirit of the city and his defenders, formed an active opposition to the forces of fascism and those deprivations that fell to the share of Leningraders and the army.

From the first days of the war, the enemy rushed to Leningrad. After just a few months, he stood at the walls of the Great City. Despite the rapid promotion of fascist hordes, no one could have foreseen, what will be the Military fate of Leningrad and what is waiting for Leningradians.

The word "blockade", which made all the imaginable and inconceivable difficulties, torments, trouble, arose and consolidated in anxious life of citizens not immediately. Something terrible happened, he was shifted, and Leningraders searched eagerly, where, where they need their personal efforts, their dedication, willingness to fight, and if necessary, then die. If only it did not last this helpless expectation of the worst. It was necessary to find in the case, in general and mainly the exit anger and anxiety ...

Artists did everything that was needed to protect their native city. More than a hundred people - members of the Leningrad Union of Artists - immediately went to the front. Many fought folk militia. To defend their city with a weapon in his hands, everyone sought.

Those who were not in the army were built defensive structures, worked on logging, held military training in the teams of anti-air defense. Some artists believed that the art during the war was not needed that the union of artists should be temporarily simply close. But the work of painters, sculptors, graphs - their professional work - has become immediately sharply needed by the city-Front.

Already at the end of June 1941, a large group of artists began to fulfill a huge work on masking military facilities - primarily airfields. It was also necessary to mask the most important civilian objects (in particular, smooth) and glorified architectural structures. It was necessary to hide from bombs and shells the famous monumental sculpture. For each monument, architects and sculptors have developed a special way of shelter. In the city rose strange, sandy hills covered by boards, the pedestals were empty ...

But the leadership of Leningrad believed that the power of cultural figures was concluded not only in this. She is in those artworks that were able to support the people of the besieged city, raise them on the struggle. V. Serov, a member of the Leningrad Union of Artists, recalled the words with which the city leadership appealed to cultural workers: "Your weapon is art, pencil. No one has the right to discard this weapon, leave it without a fighter. This weapon must be in the hands of the artist, because it is also developing the enemy, and brings colossal benefits to our case. "

Despite the hardest living conditions in the blockade Leningrad, the artistic life did not fade in it throughout the heroic defense of the city. The masters of painting, sculptures, graphics created works that have now become document documents that carry the truth about the life and struggle of the Leningradians.

One of the important means of combating the enemy was painting. The artists showed the surprisingly tragic beauty of the city, found artistic means to convey their moral ideals, reflected in the landscape, to the hearts of the blockade Leningrads and fighters lying in hospitals after injuries or defending Leningrad.

Every day I went to Leningrad streets with a sketchik in the hands of a landscape officer V. Pakulin. Wrapped in woolen scarves and an old fur coat, he idle on the frost, not paying attention to the driving shells, barely holding a brush in the weakened hand, under which all new and new paintings were born a tragically empty beautiful city. Written on nature, in Etudean running and widely, they still do not lose their own not only emotional, but also true aesthetic value. In his landscapes, the signs of war are visible everywhere, but they are always full of special, sensitive silence, surprisingly stray, aggravated sense of love for the city, and sometimes bright joy, especially striking when you know where and how they wrote.

One of the brightest blockade artists was a painter. Timkov N.E. He began writing landscapes of Leningrad back in 1941 - beautiful, truthful, humane. They are usually chamber and intimate - and for small size sheets, and on the selected motifs (a piece of the street or the embankment, a squad, courtyard). And, most importantly, according to a clear tangible in them - the mood: then twilight sadness, then a wozzed anxiety, then spring vigor.

Here in his picture "Leningrad in the blockade" of 1942 we see the frozen embankment, the buildings that have a very gloomy regrettable appearance due to the knocked and broken glasses rise to the right.

The work of "Leningrad" 1943 is typical in composition Picture Timkovo N.E. Here we see a quiet courtyard, where there are houses with boiled windows and rare residents.

Both of these pictures transmit the image of the city experiencing huge deprivation, but preserving courage.

During the war years, despite the efforts of citizens to preserve museums, empty, they had a very sad view due to multiple bombing. We can judge their condition by the works of the talented painter V. Kuchumov.

From the Blochadnik Diary G. Knyazeva:

"Leningrad is shelling from the long-range guns by the Germans. So thump broken shells. Yesterday, the projectile fell into the house on the glazing street, demolished half a day.<…> Somewhere shell got into Square - a lot of dead and wounded. Today, under the evening, shelling again. So the shells thump somewhere in the side of the Moscow railway station, there further, behind him. "

For such artists as S.Mochalov and V.Zenkovich, the most important thing was not the figures of people who either depicted away, or generally excluded from the composition. The main thing was to convey the atmosphere that reigned in the city: harsh, tense, and express the resistance of the defenders of the city. Landscapes V. Zenkovich are filled with some kind of ringing beauty.

For more truthful transmission of those heavy blockade days, the artist S. Buma with the accuracy of the documentary showed the streets and residents of the harsh winter of 1941-1942.

From the records G.A. Knyazeva:

"07/15/1941. Today sent the biggest values \u200b\u200bfrom the archive to the Hermitage - Manuscripts of Lomonosov, Kepler, Kunstkamera drawings, etc. They will be shipped with the second Hermitage Echelon in a safe place. What? We do not know ... "

War did not gear anyone and nothing. Certificate of this is the diary of the Deputy Director of the Russian Museum of the city of E. Lebedev, who led the team remaining in Leningrad. Here is one of the records dated August 5, 1943: "Scary day. Two heavy shells fell into the museum. One of them is to fifteen meters from our apartment.<...> In the main building - in the library and academic hall - chaos of brick fragments, broken frames and marble.<...> And beaten and beat again. Very close..."

Artists could not stay away from this sad event. Heavily surviving the tragedy of his native city, they captured the state in which the treasure of the art of Leningrad was. Many years later, at the exhibition "At the time of courage" in the State Russian Museum dedicated to the forty-year-old blockade, I.Nikolaev recalled: "I never felt so clearly with his beauty, appearing through pain, did not feel so color."

The blockade has changed the image of the city. Knyazev G.A. I wrote in my diaries: "Sphinxes, my ancient friends are lonely on a semi-desert embankment ... in front of them gloomy looks by the massive building of the Academy of Arts. Some heavy white magnitude it also suppresses. Rumyantsevsky Square reached and exposed. There is Bivak. Red Army women are roaming, bonfire burns, horse pinching residues of yellowed herbs. On the Neva, dark lead water ripples under the falling grains of wet snow. The wondrous monument to Peter was killed in the candied sand. The sad spectacle is a series of vintage houses along the embankment from the 1st line to the university: they all stand with a flying or broken windows ... "

It is difficult to overestimate the importance of the structural panorama of the blockade city created by artists during the war. The feeling of historical significance arising when looking at the canvas dedicated to the events of the war, talks about the desires of the authors to create volumetric and completed works. Despite the genre's characteristic of many works, they are transmitted to dramatic content. The background of the work often serves an explosive space of a deserted city landscape (the feeling is created that it fits the soul in winter cold). "Inclosure" is intended for the audience to clearly prevent all the incredible gravity of the deprivities that fell to the share of Leningraders, but at the same time felt the perseverance and perseverance of the residents of the besieged city. So, by means of concise picturesque means, artists recreated the atmosphere of a blockade Leningrad.

Portraits of military years are a special chapter in the history of Soviet art. Interest in man - a warrior, a worker, on whose shoulders a heavy and noble task of protecting the Fatherland, artists extremely increased.

Never an artist and "Natura", which he portrayed, was not so united by a common fate - their hearts beat into unison, burned with a single flame desire - to stand and defeat the hated enemy! In Leningrad, an artist and warrior - be it a redoarsman or sailor, a pilot or partisans - there were still the tragedy of the nine hundred of blockade days ...

The employee of the Hermitage Mikhailova O. E. recalled: "The blockade of us has been so firmly related that we cannot rebuild this relationship. The blockade revealed people to the end, people became as naked. You immediately saw everything positive and negative in a person. Good principle, the good sides were blooming with such a lush color! "

Because so simple and exciting portraits of those years. They were created, as a rule, extremely fast. For the studding of nature, in search of the most expressive artists lacked time. Done sketches and preparatory work. The portrait was created immediately - a brush on canvas, a pencil on paper, - for a few, and most often for one session. But as the skill of many artists has grown in those heroic years! Their eyes were made as if more dormant, the heart is more sensitive, the hand is more confident and solid. And the portraits of contemporaries-fellowships of those great years are struck by the depth of the images, the truth, sincerity, clearly by the artist and high mastery and high mastery. The best of them entered the Gold Foundation of Soviet Fine Arts. Such are already named "Self-portrait" Ya. Nikolaev. "Portrait of I. Bolozneva" I. Silver, sculptural portraits of partisans and seafarers V. Isaeva, portraits of cultural figures of Veresky, among whom the portraits of Academician I. A. Orbel, numerous portraits of Parisan V. Vlasov, portraits performed by P. Belousov, V. Malalis, V. Serov, V. Pinchuk.

We see the artist K. Rudakova, who appears before us confidently standing, with a clear look, as directed forward.

The painter of Nikolaev Ya.S., extremely exhausted and sick, even in the most difficult days of the blockade did not part with a pencil and brush. His self-portrait of 1942 is extremely expressive: Ascetic face, an inquisitive, intelligent look, severely shifted eyebrows, firmly compressed lips - a courageous and beautiful image of a man who managed to overcome, seemingly death itself.

Of particular importance acquired radio for Leningraders. The voices sounded in the radio fleece were the voice of the Motherland, Moms, a friend, a comrade, able to support and encourage a difficult minute. That is why the artist. Nikolaev Ya.S. captured in his work Petrov M.G.

Of all the coming tests for Leningraders, almost the worst is hunger. Hunger and bombing! There would not have enough cholera, or plague, or just a hungry tit. People tried to accustom themselves to look at the events directly and thinking about the future as much as possible. When this future comes, then to comprehend him! ..

Cards, which were issued by representatives of the intelligentsia, gave scarce missing, which was noticeably different from the fact that people who worked at the factories. But despite all people continued to live and create. D.S. Likhachev recalled: "The human brain died the latter. People wrote diaries, philosophical writings, scientific works, sincerely, "from the soul" thought and showed an extraordinary hardness, not inferior to the pressure of the wind, not amenable to vanity and vanity. Artist Chupyatov L.T. And his wife died of hunger. Dying, he painted, wrote pictures. When the canvas lacked, he wrote on the plywood and on the card ... "

Winter in 1941/42 in Leningrad ... Luta, hungry, cruel. A series of infinitely long dark days, the most tragic and courageous among the nine hundred unprecedented blocks of blockade. The city seemed to be extinct: the deserted streets were offended by snow, the cold goddes of the houses were called by the wounds, the torn wires were hung lifeless, trolley buses tightly frozen into the drifts. There was no bread, light, water. The war has affected everything, which had to do. And there was still work - the corpses to clean, bring to the trenches, save the city from epidemics. This work is terrible for a person.