Soviet painting is a history of contemporary art. Fine Arts and Architecture in the USSR Painting Graphics Poster in the Service of New Power
The Soviet poster after the Civil War unexpectedly began to change his appearance. In 1922, one of the ideologues of the "left art" B. Kushner proclaimed that "embryos of updates" are rooted in "seeded ries", which are necessary for new art forms coming from the "culture of industrialism, from the culture of production." On the pages of many magazines of the 1920s. This idea, explaining the reason for close professional interest in the poster of innovators of El Lisitsky, Alexander Rodchenko, Varvara Stepanova, Alexey Ghana, Anton Lavinsky, Gustav Kuris, Dmitry Bulanova, Viktor Koretsky, Sergey Senkin and Vasily Elkin. After all, "His Majesty a poster" not only informed, enlightened and agitated, but also "revolutionally rebuilt" the consciousness of Russian citizens with artistic means, free from the excesses of traditional descriptions and illustrative. The language of such a poster was akin to the language of architectural and book experiments, literary and theatrical innovations, cinematic installation of those years. In the 1920s-1930s (the Epoch of the Golden Period of Soviet Graphic Design) in Soviet Russia, the poster briefly declared itself on the three main directions. And this:
1. Policy, both internal and external (here you also include culture, the fight against illiteracy and homelessness, as well as industrialization with collectivization);
3. Cinema.
Anton Lavinsky. Goodbye Sketch of a poster.
Gouache, paper. 1927. 73x92.5 cm.
The origins of the Soviet constructivist political poster go to the 1918th-20s, when the famous Russian revolutionary poster was created and incomparable "growth windows". It is believed that the picturesque manner of the artist Vladimir Lebedeva stood the closest to constructivism in the poster:
Vladimir Lebedev. It is necessary to work rifle-near.
Petersburg "Growth".
Vladimir Lebedev. Work, there will be flour`;
You'll sit in a folder, there will be no flour`, and Mu`a!
Petersburg "Growth".
Petrograd, 1920-21. 70x60 cm.
Vladimir Lebedev. Long live
avangard revolution
Red fleet!
GHG, 1920. 67x48.2 cm.
Vladimir Lebedev. RSFSR.
GHG, 1920. 66x48.5 cm.
Vladimir Lebedev. Who goes with them
he goes in the footsteps of Judah.
Petersburg, 1920. 51.7x69.5 cm.
The famous "revolutionary rush" felt in the work of many and many artists of the era of the Russian revolutionary poster:
Ivan Malyutin. So that life is difficult to establish a new
go reflect the invasion of Panovo!
Moscow, growth, 1920.
65x45 cm.
Mikhail Cheremnyh. If you do not want
return to past
rifle in hand! On the Polish front!
Moscow, growth, 1920.
D. Melnikov. Share capital, let him live
dictatorship of the proletariat!
For saving mode.
Moscow, 1920. 71x107 cm.
What gave the October Revolution
worker and peasantry.
Moscow, 1920. 109.5x72.5 cm.
As always, in the field of constructivism, students of Vhowemas - "Forge" of such frames were among the first.
Red Moscow Heart of Proletarian
world revolution. Executed
Print and graphic faculty of Vhowemas.
Moscow, Vhutemas, 1919.
More serious artists were noted:
Lazar Lisitsky. Wedge red Bay White! UIVIS.
Vitebsk, Litizdat of Pollutal Politonlation, 1920.
52x62 cm.
The first experience of the dynamic embodiment of the idea of \u200b\u200bthe revolutionary struggle was demonstrated by the posters "Red Moskva" Graphic Faculty of Vhowemas and Lasar Lisitsky "Wedge of the Red Bay White!", Printed in Vitebsk in 1920. But there are still strong influence of cubism and suprematism.
Alexander Samokhvalov.
Tips and electricity
there is the basis of the new world.
Leningrad, 1924. 86x67 cm.
A. fears. Kim - our banner!
1925. 91x68 cm.
A. fears. History of the WLKSM. 1917-1929.
1929. 107.5x71.5 cm.
All on the choices of the bucks!
Poster.
Baku, 1924.
Registration of S. Telingher.
Julius Shass. Lenin and electrification.
Leningrad, 1925. 93x62 cm.
1924-1925 You can rightly consider the birth time of the constructivist political poster. Photomontage made it possible to transfer a picture of real life, to compare the past and real countries, show its successes in the development of industry, culture and social field. Lenin's death nominated the need to create "Lenin exhibitions" and "corners" in workers and rural clubs, educational institutions and military units.
Makarychev R. Each cook must learn
control the state! (Lenin).
Moscow, 1925. 108x72 cm.
Long live international day
Leningrad, 1926. 92x52 cm.
Yakov Guminer. THE USSR.
Leningrad, 1926. 83.6x81 cm.
You help eliminate illiteracy.
All in society "Down with illiteracy"!
Leningrad, 1925. 104x73 cm.
Labor people, the system is our Worthoflot!
Leningrad, 1924. 72x45, 6 cm.
Radio.
From the will of millions we will create a united will!
Leningrad, 1924. 72x45.5 cm.
Agitational and educational posters, which united documentary photos with text "inserts", illustrated the pages of the biography of the leader and its covenants, as on List Y. Shaz and V. Kobelev "Lenin and Electrification" (1925). Klotsis, S. Senkin and V. Elkin created a series of photomontal political posters ("without revolutionary theory there can be no revolutionary movement" of the city of Klots; "Only a party led by an advanced theory" S. Senkin can be fulfilled. Both 1927 ). The photomontructural poster was finally established as the main means of mobilizing masses during the first five-year plan (1928 / 29-1932). He demonstrated the power of the developing power, the support of which was the unity of the people.
Vera Genty. For the socialist forge of health!
For the proletarian Park of Culture and Leisure!
Moscow - Leningrad, 1932. 103x69.5 cm.
Ignatovich E. Hiking for cleanliness!
Moscow - Leningrad, 1932. 71.5x54.5 cm.
Viktor Koretsky. The defense of the Fatherland is
the sacred debt of every citizen of the USSR.
Moscow - Leningrad, 1941. 68x106 cm.
Create the Autodorovsky Broadcast Motorization Fund,
we give the motor to the Red Border Guard. (OK 1930). 103x74 cm.
A picture of the photomontage was the poster of the city of Klotsis "Perform the Plan of Great Work" (1930). Special sound gave him a "street" format in two printed sheets. Documentary photo image has made John Hartfield into its works. An image-symbol - a hand - appeared in the early works of the club: in the illustrations of the book of Yu. Libdition "Tomorrow" (1924), in the projects of the Lenin Call posters (1924).
Photo Hands G.G. Club.
Working element.
1930.
Klocis of the city of workers and workers are all for the election of advice!
The world's most famous poster of the city of Klotsis. 1930. 120x85.7 cm.
Executed in lithography and offset lithogafia technique.
Consists of two cloth.
The price of the world market comes to 1.0 million rubles.
And as an option:
Curl G. Perform the Plan of Great Work!
Moscow - Leningrad, 1930. 120.5x86 cm.
Valentina Kulagin-club.
Shock factories and state farms,
join the KVP (b)!
Moscow-Leningrad, 1932. 94x62 cm.
Raised female workers on Valentina Poster Kulagin-club symbolized a call for women-shock five-year plan to replenish the ranks of the Communist Party (1932). A talented artist made several very interesting posters during these years. The years have not come the years of total terror, and in the manner of the fulfillment of a large master of the political poster there is a certain shade of freeness, which will later become impossible in principle - due to accusations of formalism:
Valentina Kulagin-club. We will be ready
to the reflection of the military attack on the USSR.
International Day for workers -
the battle day of the proletariat!
Moscow - Leningrad, 1931. 100.7x69 cm.
Valentina Kulagin-club. On the defense of the USSR.
Moscow - Leningrad, 1930. 91x66 cm.
Valentina Kulagin-club.
International Day for Workers -
day of the Socialist Competition.
Moscow - Leningrad, 1930. 106x71 cm.
Valentina Kulagin. Shit workers
creparate shock brigades,
master technician
increase frames
proletarian specialists.
Moscow - Leningrad. 1931.
Valentina Kulagin-club. Comrades Pitmen!
Moscow, 1933. 103,5x72 cm.
Her husband of Gustav club was also found, a composite solution of posters with photo portrait Stalin was also found.
Gustav club. The reality of our program is -
live people are me with you. (Stalin).
Moscow - Leningrad, 1931.
The figure of the leader in the unchanged gray overcoat with quotes from his statements against the background of collective farm works or the construction of factories and mines convinced everyone in the correctness of the choice of the path to which the country was going ("for the socialist reorganization of the village ...", 1932). In the work of clubs, the photomontazh is increasingly strengthened as an original means of registration of books, leaflets, newspapers and other printing publications. An innovative approach to illustrating party press at this time was supported in the speeches of a number of critics, art historians and public figures. I. Matsa, for example, speaking on the discussion of the club of clubs about the photomontage, said that one American artist (Hugo Gellert) put in his creative plan to illustrate the "Capital" of Marx.
"This question," said Matsa, "really requires much attention. We still illustrate completely empty books, and we leave political without illustrations. In this regard, the photomontage can help us. "
Portraits of outstanding officers of the Communist Movement and the Socialist State, history documents, images of political events introduced clubs in an artistic illustration. Klotsov turned the photomontage into high art, elevated the reliability of the fact into a high style.
Kloths, J. Hartifild, F. Bogorodsky,
V. Elkin, S. Senkin, M. Alpert.
Batumi, 1931.
The top of the creativity of Gustav Klotsis, the artist of the photomontage, became his work in the field of the Soviet political poster, where he took the honorable first place. Therefore, its numerous works require special attention.
Gustav club. Socialism's victory
in our country is provided
the foundation of the Socialist Economy is completed!
Moscow - Leningrad, 1932.
More directly than other types of visual arts, the poster responds to the most important events in the life of the Soviet people. The level of high art was raised by a political poster in the first years of Soviet power. The bright takeoff in the history of this type of combat art of agitation of the "Growth", created by Mayakovsky and a group of artists who worked with him - M. Cheremnoye, I. A. Malyutin, A. Nyurberg, A. Levin and others. The same years include the wonderful works of masters of the Soviet printed poster D. Moore, V. Deni, M. Cheremnya, N. Kochergin and others. The political orientation and ideological clarity of the contents of the posters of these artists were combined with expressiveness of graphic agents.
Gustav club. "Frames decide everything!" I. Stalin.
Moscow - Leningrad, 1935. 198x73 cm.
In the second half of the 20s, the established school of the Soviet poster was experiencing a decline period. In an article dedicated to the poster, Ya. Tougyandhold wrote:
"True, the streets of our capital are singing with posters and ads, at their intersections, stalls, decorated by the Mayakovsky Museum," Iso "of Vhowemas, and even higher - over the streets - bright inscriptions and ribbons, and in some way and sparkling electricity. And however, our art of street exposure is on the fracture. "
The country entered into a new period of history. Before the art, new tasks stood up - to reveal the inner world of man more in-depth, his spiritual wealth and pathos of everyday labor. There is a need to update and expressive posters. New, not used in this area, the means of active exposure possessed the photo formation. New methods of building an image opened rich opportunities before artists. With the onset of the first five-year plan, D. Morao, V. Deni, M. Cheremnya was activated. The poster has attracted new creative forces.
Gustav club.All Moscow is building a subway.
Let's give the 17th anniversary of the October Revolution
the first line of the best metro in the world!
Moscow - Leningrad, 1934. 140.5x95.5 cm.
Successfully began to work in this genre A. Daineka, B. Efimov, Kukryniksi, K. Rotov, Y. Ganf, N. Dolgorukov, A. Kanevsky, K. Urbietis, V. Skovkov, P. Karachentsov and other young artists. A noticeable place in the process of activating the art of the Soviet poster began to occupy a photomontage. Around the city of Klotsis, a group of young Hu-gladov-photo advertists was united: in, Elkin, A. Gutnov, Spirov, V. Kulagin, N. Pinus, F. Tagirov. Cooperation of clubs with S. Senkin continued. Back in 1924-1928, along with work on photo-slogan-installations, illustrations in books, registration of periodicals, clubs design and creates a number of propaganda photomontal posters about the Leninsky appeal to the party, about international working assistance, sports, etc.
We stand for peace and defend the case of the world.
But we are not afraid of threats and ready to answer
blow to the blow of the war of war.
I. Stalin.
Moscow - Leningrad, 1932.
However, these posters are in their form, according to the principles of construction developed the photomontages of the Leninsky series, and to the VI Congress of trade unions. In these works, all the qualities needed by a political campaign poster have not yet been manifested. The impetus to the choice of clubs of the intended path was fulfilling it together with S. Senkin, the tasks of the Agitprop MK WCP (b) on the creation of two large propaganda posters "Active, learn. Go for advice in the cell "and" without revolutionary theory cannot be a revolutionary movement. "
Poster of Klotsis. 1933. 130x89.8 cm.
Consists of two cloth.
The legendary poster of the city of Klotsis. 1931. 144x103.8 cm.
Executed in lithography technique
and offset lithography.
Consists of two cloth.
The price of the world market comes to 0.5 million rubles.
The legendary poster of the city of Klotsis. 1930. 120x85.7 cm.
Executed in lithography technique and
offset lithography.
Consists of two cloth.
The price of the world market comes to 0.5 million rubles.
Poster of Klotsis. 1933. 79.6x170.5 cm.
Executed in the technique of lithography and offset lithography.
Consists of three cloth.
The price of the world market comes to 0.5 million rubles.
"I took it so - wrote a club wife about the circumstances of the work on the first of them, - I felt all the books, papers, photos, etc. In my practice there was nothing else. "
The poster consisted of twelve mounting pieces, and the themes and problems were complex and difficult.
"Today, - writes the artist in a letter from June 2, - At 12 o'clock they should have imagined and exactly 12 presented. Almost completely finished. It remains only technically corrected. Will go to print (circulation of 5000 copies). But never still tired. "
Success wrapped artists. A month later, club reported with pride, which personally monitors the progress of the qualitative fulfillment of the second "large young - poster", which "came out very and very thoroughly or, as we speak: Oh-oh!".
Two posters Gustav Clutis,
deeds to I. Stalin:
Yes Healthy Stalinsky tribe
heroes of Stakhanov!
Moscow - Leningrad, 1935.
Long live the USSR,
difference of the fraternity of workers
all nationalities of the world!
Moscow - Leningrad, 1935.
Unusual externally, saturated with meaningful political information, posters were represented in the fall of the same year on the All-Union Printing Exhibition, which opened in Moscow in Moscow in Moscow. Premonition of creative lifting, the feeling that the main thing and significant, as a prophecy, sounded in the letter of the artist dated July 13, 1927:
"You, Willit, you can't imagine what I have a strong desire to work, and has never been so easy to work. And the results are good. When I see here now in front of me two of my poster, one of them is a huge, Mahina, and the other you know, then a strong desire to make a whole hundred of the best and most original posters, if only there were certain orders. "
The customer was the era - the era of the industrialization of the country and collectivization of agriculture, the era of the construction of socialism. The epoch gave birth to the labor front fighters worthy of becoming the characters created for them. The epoch gave birth to her decent artists. In addition, and other circumstances were determined by the activities of the Platter club. First, he turned to a poster in a mature period of creativity. In the art of the poster, the club found his calling. Secondly, the subjective evolution of his work coincided with the objective and experienced staging of the fracture in the development of the Soviet poster. Finally, thirdly, his work was accompanied by an indifferent struggle for the approval of the photomontage, for nominating it to the advanced positions of the visual art. Completely expressed by club in his own address. For ten years of work in the poster, it will be created more than a hundred political posters on the most relevant topics of the struggle of the Soviet people for the construction of socialism. The best of them will make a milestone in the development of the Soviet poster.
Gustav club.Long live our happy
socialist homeland
long live our
favorite Great Stalin!
Moscow - Leningrad, 1935. 104.5x76 cm.
However, at that time, artistic criticism in the face of such serious authors, as J. Tougyandhold, called doubt on the creative nature of the photomontage.
"He may be the first step towards creating a club amateur poster. But it is just the first step, for it is clear that the systematic substitution of live creativity by mechanical stickers is a systematic killing of creative abilities. Such is the extremely limited sphere of the application of the photo montage poster, "- I wrote J. Tougyandhold.
Describing the crisis state of the genre at the end of the 20s, Ya. Tougyandhold refuses to see the possibility of reviving the poster by means of photomontage. He sees the main danger in it for the development of artistic tastes and culture:
"There is no need that he is dry and worm, gray and Babeta, he knocks the viewer with different scales that he gives a controversial combination of volumes with a planar pattern, a gray photo with color - it is declared from us almost the ideal of the proletarian poster."
Angry eye Critica correctly noticed some specific features of a photo montage poster - discrepancy in the image, combinations of volumes and a planar drawing, one-photograph photography and color. However, in the article of Tougyandhold, the receptions and means of the method were criticized, the advantages of which are not determined by themselves, and the skill and skill of the artist apply them. Curis in his speeches defended the possibilities that operate in front of the artist working in the field of photomontage. He defended the method of photomontage from attacks of adherents of traditional forms and means in a poster and from artisans who discredited the positive properties of a new poster type that used photomontage techniques without penetration into the figurative meaning of the poster.
Gustav club.Long live the USSR
fatherland of the working people of the whole world!
Moscow - Leningrad, 1931.
Klotsis himself claimed:
"Photomontage, like any art, solves the question figuratively."
He saw in expressive photographs to the further development of the language of artistic truth. With increasing perseverance in 1928-1929, the club is given to work in the area of \u200b\u200bthe poster, seeking increasingly and more realistic expressiveness and imagery. The flourishing of its activities occurs in 1930-1931. At that held in 1930 in the Park of Culture and Recreation, the exhibition "October" was presented more than a dozen club posters, among them such outstanding work, as "fulfilling the plan of great works", "We will refund the coal duty of the country", "at the storming of the 3rd year five-year plan "," May 1 - day of international proletarian solidarity "," Long live the XIII anniversary of the October Revolution "and others. The exhibition caused wide public interest and positive press responses. On March 31, 1931, the Central Committee of the CPSU (b) adopted a resolution "On the poster literature", in which there were serious shortcomings in the organization of the publication and in the release of picture and poster products. In order to eliminate the deficiencies and improvement of artwork, the decision provided for a number of activities to improve the ideological and artistic quality of publications, attracting a wide Soviet public to the picture and poster case. The publication of the posters focused on isogiism, with it was created working advice, the discussions of publishing plans, sketches of posters, mobile exhibitions of finished products were organized. With the formation of a poster version of the isogy, Klocis becomes its active employee, and at the time of vacation of the chairman of the unification of employees of the revolutionary poster, D. Mora, assumes substitution under the leadership of the ORRP. As a response to the appeal of the Central Committee of the WCP (b), his posters overlook: "Drummers, into battle for the five-year plan, for the Bolshevik pace, for the Defense of the USSR, for World October" (by May 1, 1931), " The USSR is the shock brigade of the proletariat of the whole world, "" work in the USSR is the matter of honor, the case of glory, the business of valor and heroism "and others. The club introduces numbers in the compositions of posters - indicators of five-year plan plans, under the heading "country should know its heroes" in the posters are printed by the names of workers - front of production and their portraits are reproduced. Clutch posters are published by 10-20 thousand editions, published and reproduced in art journals, in periodical press, in articles and collections devoted to the problems of visual propaganda. Paphos of heroic weekdays unites the posters of the "Fighting Fighting" series. "Marsh time" called the five-year plan. Mayakovsky.
Gustav club.Under the banner of Lenin
socialist construction.
Moscow - Leningrad, 1930. 94.4x69.4 cm.
In powerful rhythms of the labor march of the heroes of photomontal posters of the club, the image of the five-year plan is embodied by the language of fine means. The images of their heroes, Soviet people, the artist found in life: the portraits of the workers were filmed in the workshop, at Marten's furnace, in the coal slaughter. For the sake of a valuable frame, the club was ready to go anywhere, sacrifice sleep and rest. He tirelessly removed, collecting material for future works. New impressions and big material brought him a creative trip to the southern regions of the country together with Senkin in the summer of 1931. Many cities (Rostov, Novorossiysk, Kerch, Baku, Sukhumi, Batumi, Tiflis, Tashkent, Gorlovka) Curc saw for the first time. The industrial regions of the country also caused interest and, first of all, the Donbass, to which in those years the attention of the whole country was riveted.
Gustav club.Long live working and peasant
Red Army -
the right guard of Soviet borders!
Moscow - Leningrad, 1933. 145x98 cm.
In letters to his wife, bright impressions were reflected, subsequently reflected in artistic images:
"Yesterday came to the All-Union Kochegarka. Gorlovka is the end of any similarity for poetry. These are weekdays, heavy and big labor, dust and dirt. Last night at 10 o'clock I and Senkin went down to the mine together with the change of workers. Only now I understand all the severity and hard work of the slaughterman, Shakhtar. There is no present literature about it. The most remarkable is a bathhouse and a shower at every mine. Each change after work enters the clean half and dresses its clean, often in the last fashion costumes. I think somewhat linger here. Very interesting types and diverse in shape and content. A lot of work".
The ability to choose the types, more correctly, to type a single thing - even criticism recognized in club posters, underestimating the artistic importance of the installation. On a poster "On the struggle for fuel, for metal" (1933) in Shakhtar's clothes, with a hollow hammer on the shoulder, a confident activity, beautiful and strong, protrudes himself. What is the meaning of such an inclusion of the autoportist? The ordinary five-year plan felt a club - a tireless propagandist and a participant in the industrialization of the country. The club belongs to the merit of creating the image of the Soviet worker in his documentary uniqueness and monumental spirituality. Klocis paved the road of the heroic line of a realistic photo montage poster. There is another aspect in the image of labor people, characteristic of the genre of the assembly poster, developed by club.
Gustav club.Communism is Soviet power
plus electrification.
Moscow-Leningrad, 1930.
This is an image in a poster of folk masses, millions of labor people of the globe. Red Army or worker in "Growth windows" symbolized the image of the people in a single, typical. Documentary portrait of a worker or red Armyman close-up in a poster performed the same role. At the same time, the people, the working people of our country and all mankind speak near the equal hero of the Posters of the Klocis. Mass rallies, demonstrations, scenes of fighting and battles, festive processions include an integral part in the artistic solution of many club posters. The inspiring source of Crucis works was October in his progressive victorious procession. It is natural that the theme of the people was inseparable from the topic of the revolution. Picorrowingly, careful surveys found clubs of the transaction in the art of the revolutionary movement of the masses. The most complex installation is a gradual transition from a close-up to the small and the smallest, comparison of a single and general one - such a technique with which clubs managed to transfer the scope and scale of the events depicted. In his posters, the truth of the document is combined with an artistic exaggeration and generalization, the concreteness of the fact - with the convention of its artistic interpretation. The poster is remarkable in this sense "The purpose of the Union is the overthrow of the bourgeoisie ..." (1933). The figure of Marx is located in the center of the sheet and thereby interpreted as the focus of the composition. Behind him - scenes of past uprisings, glow of fires, barricades of the Paris commune.
Gustav club.At the storm for the 3rd year five-year plan.
Moscow - Leningrad, 1930.
In front of it, the globe and the mass of workers, covered by a single impulse of the struggle for freedom. The artist discloses the greatness of the ideas of Marx, his call to the union for the overthrow of the bourgeois system in the name of the creation of a new, class-class society. The topic of international proletarian solidarity found a multifaceted reflection in the work of the club, and often in its representation it is associated with the image of the globe. The globe for clubs is an allegory of peace, unification of workers, the symbol of the communist future, the pictorial equivalent of the slogan: "Proletarians of all countries, connect!". In different ways, the image of the planet Earth is refracted in the club posters - then in the form of a conditionally defined circle of volume covered with a network of meridians and latitudes, then in the form of a flat circle - a collage of red glossy paper, or in a drawing with a volume-shadow study of the stroke and elements of the photomontage.
Gustav club.Work in the USSR is a matter of honor
glory, valor and heroism.
The country should know his heroes.
M.-L., 1931.
Gustav club.Drummer fight!
L.-M., 1931.
Far stepped clubs from the patterns found in the "dynamic city", to the diverse realistic solutions, but the theme of the future land, the space industrial century continued to remain one of the cherished problems that worried the artist. In the posters of the 30s, the best creative achievements of the artist of previous years were embodied. Mature talent has absorbed what was opened to them in spatial compositions and in printing, used the experience of modern picturesque culture and developed the inalienable properties of the poster as a powerful means of political visual agitation. Like any real art, the photomontazh caused his laws of construction and thus updated the usual ideas about poster form. The political posters of clubs meet the general requirements for this genre, they are throws, accurate, convincing, witty, are inventive. The artist understood the "soul" of the poster, introduced new and used former methods, while maintaining the specifics of poster expressiveness.
Gustav club.Give millions
qualified workers
frames for new 518 factories and plants.
M.-L., 1931.
Gustav club.Efforts of millions of workers,
involved in the Socialist Competition
five years turn to a four-year apartment.
M.-L., 1930.
Gustav club.Without heavy industry
we can't build
no industry.
M.-L., 1930.
The methods of creating an image in a club posters are diverse, but they are of particular interest to those in which it develops the expressiveness specifically inherent in the photomontal method. Such techniques include comparisons of "natural" shooting with conventional images, rhythmic repetition of personnel, influxing one image to another, combining one or more elements of photographing. Curis is not afraid to repeat the well-known reception, but every time it gives an independent and no less perfect on skill, on the technique of execution.
Gustav club.In battle for five years
for Bolshevik pace,
for the defense of the USSR, over the world October.
M.-L., 1931.
solidarity of workers.
M.-L., 1930.
These are some options for the poster, which depict two combined heads of young workers and workers who are causing photomontal registration of the Lisitsky Soviet pavilion at the international exhibition "Hygiene" (Dresden, 1928), in which the young man and the girl's head symbolized the topic of the exhibition - Youth and health. A photo portrait, carved by silhouette and pasted on the painted plane, acts in a different role than on its organic background. It was transferred to another spatial environment, and this very fact is already pushing the visual space. The various variants of the combination of volumetric (three-dimensional) photographs with plane receptions of the transmission of space are really unlimited.
Gustav club.Culturally live-product work.
Moscow-Leningrad, 1932. 144x100.5 cm.
The club deliberately walked on the installation of volumetric and plane. The innovative nature of the most significant placats of clubs is determined by this specific image of the image, which the artist himself called the "reception of the expanded space", a reception, such as close to people's perception, which on the basis of new principles was continued and developed by the artists of the 20th century. Variating, trying, experimenting, clubs sought new visual impressions. The principle of "deployed space" made it possible to change the real scale in the image of people and events, bring the remote and remove close. For the first time, the club applied the principle of the three- and four-fold parallel exposition of the same poster. Publishing in this form a poster "Let us refund the carbon duty of the country" (1930) in the "Bulletin of the Arts Sector of the People's Commissariat", the club indicated that "the convention of the poster is designed for such a principle" of its exposure and perception.
Gustav club.Long live multimillion
leninsky Komsomol!
Moscow - Leningrad, 1932. 154x109 cm.
Thus, the artist sought an increase in the power of the poster on the viewer. The vertex of an expressive specifically poster solution was the world-famous poster "Perform the Plan of Great Work" (1930). In the archives of museums and in the artist's family, photographers of the initial sketches of this outstanding work of the club at different stages of the embodiment of the plan were preserved. There was an opportunity to trace the long way that the artist passed before the desired result was. An accented image of a hand as an image-symbol is typical for many artists.
Gustav club.Komsomol members for impact sowing!
Moscow - Leningrad, 1931. 104.5x73.5 cm.
In the drawings and engravings of Kete Colivits, the hands of heroes often carry no less, if not a greater artistic burden than face. Close attention to the hand of a person can be traced throughout the art of artist. From such early etchings as "from the church wall" (1893), "need" (from the "Weat Rezind" cycle, 1893-1898), to such works as "after the battle" (1907), where in the killed woman Only one hand is lit, and the second is holding a flashlight, or in the "Sheets of Memory of Charles Liebknecht" (1919 - Lithograph, etching, engraving) and in the lithographs of "Help Russia" (1921) - everywhere hands: labor, grieving protesters - pass by leitmotif artistic thought of the author. "The hands of builders" called one of his poems F. Lyzh. This is one of the leading the topics of the French artist. Documentary photo image has made John Hartfield into its works. An image-symbol - a hand - appeared in the early works of the club: in the illustrations of the book of Yu. Libdition "Tomorrow" (1924), in the projects of the Lenin Call posters (1924). Working on the poster "Workers and workers is all on the re-election of the Soviets" (1930), in the subsequent version of which the slogan was replaced with a more concise "execute the plan of great works," club also turned to the image of the hand. In one of the first options for the poster, there are all future elements of the plot - slogan, a photo of a hand, a voting person, but there is still no internal connection between them, there is no integrity of the image, and the artist creates one after another some other options, until it reaches the maximum poster expressiveness , but capacious in content means. The design of the composite installation is the formula of the method of club. This feature appears clearer when compared with the work of Hartfield - an outstanding wizard of the photomontage. Creativity Hartfield often compared and opposed the work of clubs. If you compare the poster "Five fingers has a hand - five you grab the enemy for the throat. Vote for the Communist Five "(1928) Hartfield with a poster" Perform the Plan of Great Works "(1930) of the club, then you can feel what the difference between the figurative thinking of these artists. It is conventionally, we can say that in the concept composed of two words - a photo and installation, Hartfield puts an emphasis on the first word. Clubs - on the second.
Gustav club.
(Lenin).
Moscow - Leningrad, 1930. 103x72 cm.
Almost simultaneously becoming large masters of assembly art, they were bright representatives of various directions: clubs - constructive mounting, Hartfield - allegorical. Installation of Hartfield - allegory, symbol, feuilleton. Hartfield worked during the period of a complex political situation in Germany, and after 1932, in difficult conditions of anti-fascist emigration. His weapon is allegory. With murderous sarcasm, he commented on political events in the country. In his posters "His Majesty Adolf: I lead you to towards magnificent bankruptcy" (Berlin, 1932), "He wants to poison the world with its phrases" (Prague, 1933) Hartfield deforms or modifies photography to invest another point in it. "The painter writes paintings by paints, I photos," he said. Hartfield or literally depicts what lies in the meaning of the word, or, on the contrary, it takes into a symbol of its figurative meaning. "The old stronger to the new empire is" blood and iron "(1934) - is called a poster on which the Black Fascist Swastube is composed of four bleeding axes. "Through the light to the darkness" - paraphrased Hartfield, a well-known expression in the installation directed against the burning of books in the Berlin and many other universities in Germany on May 10, 1933. Hartfield creates a new imagery by mounting.
"At the same time, the faces used in the composition, facts, the events themselves are always real, but the mounting comparison of their" unreal ", but deeply realistic in spirit", - writes about the installations of Hartfield I. Matsa.
In 1931, Hartifild came to the Soviet Union, an exhibition of his work was opened in Moscow. There were a meeting and acquaintance of two communist artists. The sacramental question about the "inventive" of the photomontage, to which Hartfield replied:
"The inventor of the photomontage is the social shift that occurred in the last 10-15 years."
Hartfield's expression:
"It is important not a means, it is important who enjoys them" - It was picked up by artists and critics.
Gustav club.
"From Russia, NEPOVSKA will be Russia Socialist"
(Lenin).
Moscow - Leningrad, 1930. 87,5х63.2 See see
The law of the genre, the general ideological platform has determined the community of many techniques. The famous mounting of the Hartfield "Soviet Union today" (1931) is invoked by the Posters of the club "Communism - this is the Soviet power plus electrification" (1929), "From Russia, Russia will be socialist" (1930) or "fulfill Lenin's covenants" (1932). According to one principle - portrait of a worker on the background of an industrial landscape - a poster of Hartfield "New Man" (1931) and clubs of clubs are built: "Long live the XIII anniversary of the October Revolution" (1930), "culturally live-producing work" (1932) and others. Yet the style and handwriting of these two masters. Each of them was carried out by the dictated character of the inner vision. The means of composite installation of the club were the plot multipleness, specific methods of transmission of space, associative comparisons, thanks to which the documentary was built to the extent of the broadest generalization. The club does not hide the "seams", connects the mounting nodes. The art of clubs did not remain closed in the circle of developed techniques. Among his works there are samples in which the design nature of the installation and the special vision of the space is essentially preserved, but the image is created by the synthesis of installation and the pictorial-plastic embodiment.
Gustav club.Youth - on airplanes!
Moscow - Leningrad, 1934. 144x98 cm.
This is a poster "Youth, airplanes!" (1934). In parallel, at the new stage, the appeal to painting had its impact on the work of the artist in all spheres of his creativity and the poster, including. Unusual for the previous things, the light-air environment creates the integrity of the space. There was something new, a relative poster with a picture, "written" by photographs, and significantly different from the usual idea of \u200b\u200bthe picture. Klucis removed the "seams" and Hartfield wrote a picture. But internally - in some thoughts and feeling of form - remained yourself. Chronologically and thematically, this poster causes in memory of A. Deneki's cloth to sports topics: "Run" (1930), "Skiers" (1931), "Cross" (1931), "Game in the ball" (1932), "Run" ( 1934). A significant difference between genres does not remove the general traits inherent in a certain extent art of clubs and deyneki. In the work of each of them, the features of the present art of the mid-30s appeared in the work of each of them: romantic elevation in the interpretation of reality and monumentality of images, the predominance of light, cheerful paints, dynamism, intense expressiveness of the action. Noting the characteristic features of the work of the young A. Daineki, R. Kaufman wrote:
"In the people depicted to them - workers, athletes, children - the viewer easily catches the features of our era well. And yet the characters of his paintings sometimes lack something unique-individual, they are too standard. "
Gustav club.Anti-imperialist exhibition.
Poster poster. 1931.
This can not be said about the heroes of the Posters of Curc. In his interpretation, the image of a contemporary retains the character unique in its individuality. We can safely say that at the later canvas A. Deneki, such as the "first five-year plan" (sketch for the picture, 1937) or the "left march" (1941), stretch straight threads from photomontal posters of the early 1930s. Curis considered himself and was indeed a convinced revolutionary in art. Artistic criticism in I. Matsa, V. Genceberg, P. Aristova, I. Weisfeld, A. Mikhailov invariably allocated in his estimates of the clubs of clubs as the most successful, but noted that they constitute a "completely random phenomenon", "only a drop in Sea released products "(I. Matsa). In 1931, Klucis took part in the discussion "Tasks of Isoisky in connection with the decision of the Central Committee of the CPSU (b) on the poster literature." The discussion materials were widely covered in the press, published in the journal "Literature and Art", published a separate collection "For the Bolshevik poster". The publication of the report of the club "Photomontage as a new problem of campaign art" was accompanied by a revision of the editorial office, in which it was noted that the selection of the spatial arts of the Institute of Literature, Art and Language, where the report was read, "disagree with a number of provisions t. Klotsis, which show that T. Kloths could not completely overcome the errors associated with the October group in which he consisted. "
Gustav club.
"The goal of the Union is: the overthrow of the bourgeoisie,
the domination of the proletariat, the destruction of the old
resting on class opposites
bourgeois society, and the creation of a new society
without classes and private ownership. "K. Marx.
Moscow - Leningrad, 1932. 151.5x102 cm.
There was meant the opposition of photomontage as art created on the basis of industrial techniques, other species of fine culture. The statements and passionateness of the club were given a reason for such conclusions, but the Pafos of the report and the specific content of the sources of the occurrence and specific installation techniques were dictated by the desire to defend a new type of agriculture and prove that it occupies advanced position in the visual culture of modernity.
"The proletarian industrial culture that puts forward expressive means of impact on the millionth masses," wrote clubs, "uses the method of photomontage as the most combat and effective means of struggle. Photomontage created a new type of Soviet political poster, which is currently leading. The photomontage was first made new social elements in the composition - a mass, a new person building a socialist state, new types of production and agriculture, socialist cities, the proletariat of the whole world, not distorted aesthetic appendages, and live people. He created new methods for organizing a plane sheet, whose features are made in ocomplelection (organization) of a number of politically relevant elements:
1. Political slogan.
2. Socio-current photo (including documentary) as a visual form, color as an element of activation, and graphic forms linked by a single target installation than the maximum expressiveness, political acute and force of impact is achieved. "
Curis justified a special type of creativity, equivalent in its artistic possibilities to other types of fine arts and special effects of impact.
Gustav club.Hello that entered into work
the global giant Dneprostroy.
Moscow - Leningrad, 1932.
Gustav club.Let us return the country's coal duty!
Moscow - Leningrad, 1930. 104x74.5 cm.
Summing up the discussion, I. Matsa rightly said:
"All speakers comrades unanimously recognized the need to deal against the underestimation of the photomontage. It is necessary, however, remember that this struggle should not move to the revaluation. "
D. MOOR, the largest master of the Soviet poster, who made so much for his development, rightly recognized the advanced role of a new direction on a poster front:
"The photomontage in the years of the first five-year period has become one of the most important plots of the newly flourishing combat political poster,"He wrote in the article "Soviet political poster 1917-1933" together with R. Kaufman.
Gustav club.Struggle for
bolshevik harvest -
fight for socialism.
Moscow - Leningrad, 1931.
Gustav club.Drummers fields
in battle for socialist reconstruction
agriculture! (I. Stalin).
Moscow - Leningrad, 1932. 144x104.5 cm.
World fame came to the works of Curc. Along with the most significant Soviet artists, Klucis represented the art of revolutionary Russia at international exhibitions in Europe, America, Canada, Japan. Significant place was taken by his works at exhibitions in the mace of Museum (Holland), "Film and Photo" (Berlin, Stuttgart) and "Photo Montage" (Berlin). The preface to the catalog of the Berlin Exhibition "Photomontazh" is written by club. In the revocation about the exhibition Gainus Lyudek wrote:
"The opening of the club, the creator of the photomontage era, makes this genus of the art of agitational propagandist: this thought is particularly stressed after the film" TURTSIB ", also made on the principle of photomontage. Inherent in the works of both authors - Gustav Klotsis and Jigs Verchov - a huge propaganda impact puts their art to the revolutionary service of the proletariat. "
Danish art historian Gundel when analyzing the "Collection of Works" received from the Soviet Union (referred to the exhibits of the "Photomontazh" exhibition), the clubs of Clotcis especially notes. D. Retenberg, who visited England in 1931, informed the club: "In the last yearbook" Poster and advertising "(London, 1931) printed your work with a good review."
Gustav club.Development of transport
one of the most important tasks
to fulfill the five-year plan.
Moscow - Leningrad, 1929. 72,5х50,7 cm.
On the pages of the magazine "Art" Soviet art historian M. Ioffe in the article about the poster put forward a club "In the ranks of advanced masters of a part-polyithic poster". However, complex processes in the development of Soviet art in the second half of the 1930s could not affect the fate of the poster. "As a mortal sin poster is afraid of a stamp," said Tarabukin. Under the conditions of an unmatched approach to its specificity, the standard has become the main danger to the artist. The overall decrease in the artistic level of posters was reflected in the work of clubs. The definition of the themes, the schematics of solutions adversely affect the skill. Posters lose the brilliance of novelty, with persons of the heroes of the club disappears a living expression. The artist is experiencing acute discontent with himself. Already in 1934, the number of posters created by him and almost stopped in 1935-1936.
Asset learn.
Poster Agitprop MK VKP (b).
Gustav Kloths and Sergey Senkin.
Moscow, 1927. 71x52.5 cm.
In the working notebooks of the club, many records appear, behind the external restraint of which there is a spiritual bitterness. According to fraud, you can judge the content of his speeches: "It has almost ceased to work. Isogise does not need my work. And I love a poster business. Working on a poster, I am closely with a party and ideologically and organizationally. Avant-garde role - Mayakovsky. " The decrease in the art level was reflected not only on a photo montage poster. The overall alarm of his fate expressed Moore in Article 1935 "Attention Poster" and in a number of other speeches and statements:
"We forgot about the specifics of the poster, changing the pictusivity of naturalism"; "And here was a poster and a poster disappeared."
The critical revaluation of the achievements of the photo montage poster began. Only in the late 1950s, the work of Klotsis again begins to attract the attention of researchers (I. Birzgalis, A. Eglit, N. Khardzhiev, N. Shantyko).
"Talency and hot interest in the case helped the club to create a lot of politically acute and artisticly eloquent photomontal posters. The artist originally combined the material, he knew how to generate large-scale contrasts of individual images, and most importantly - successfully pick up photos by the type of heroes, "- wrote in 1965 N. Shanto.
Gustav club.Without a revolutionary theory
there can be no revolutionary movement.
Moscow - Leningrad, 1927. 71x52.5 cm.
Today, more visible overheads and ticks taken. Much, which seemed insignificant, atypical, turns out to be significant and important. From the artists who worked in a poster, the club bolder has changed his familiar look. Not immediately from the time of the "poster fever", the story has allocated manually "growth windows". It was not immediately understood also a photo montage. On the temperament of the fighter, on the consistency of the figurative language of the era, on the monumentality of the contemporary of the contemporary club, the club stands next to those who opened new pages in the history of the poster, showing an outstanding talent.
Gustav club.Glory Great Russian
poet Pushkin! 1936.
If we talk about prices for the posters of the city of Klotsis on world auctions, they are quite solid: large and well-known glued "sheets" pass from 20 to 30 thousand US dollars. Less known: from 7 thousand to 15 thousand. For this collectors and dealers simply adore Gustav Gustavovich. Poster "Glory Great Russianpokushkin's poet! "It is inexpensive - not the proletarian and collective farm" rush "...
The revolution of 1917 began the perfect new stage in Russian painting, which was expressed in the development of its new forms, and in comprehendence of new ones, before that unprecedented events in Russia.
It can be confidently noted that the revolutionary events of this referee for our country of the year laid the basis and a unique cultural revolution, to the Word, which did not have any world analogues. The content of this phenomenon can also not have any unambiguous characteristics.
From the October Revolution, Russian painting was in a situation where:
- Everywhere realized the idea of \u200b\u200bpartying of any art, i.e. Existed and even partly, ideally composed in the principle of freedom of creativity. As a result, it was brightened to the active politicization of the entire cultural sphere, and especially art and literature.
- There was an active "cultural education" of all, including the illiterate layers of citizens of the former empire, and their introduction to national achievements of art.
Russian artists and revolution - new organizations, new tasks
October 1917 mainly coolly changed the situation and nature of masters, whose art life and the manner has already developed. It should be noted that the revolution, first of all, appealed to the work of young artists, which naturally. However, the numerous and diverse platforms that have arisen in the first impulse existed as a whole only five years. New artists appeared as daring innovators who destroyed everything and extending the experimental paths.
From among the largest pre-revolutionary masters, representatives acquired consent to the revolution:
- russian impressionism - K.Juon, A. Rylov
- - M. Dobuzhinsky, E. Anlaser
- - A.Lanturov, P. Konchalovsky, I.Mashkov
- Avant-garde -,
There are absolutely new directions in the domestic painting on the revolutionary lift:
- "UNIVIS" as a representative of the already revolutionary (existed for 1 year) - M. Shagal, K. Malevich, L. Lisitsky. The task of the association is new forms and new "pure art" (deciphering abbreviation - "Approtients of new art")
- The group of artists "Knife" - on challenges and forms, she was close to the ideas of "Bubnovoy Vnet"
- "Polychult" - arises as an association on the principle of creating a new culture (proletarian), the opposed to the Heritage of the classics
Meanwhile, on the artistic field of Russia, which changed with the revolution of 1917, continued to exist both the art groups that kept traditional forms and depths of philosophical understanding are associations:
- "Four Arts" - K.Petrov-Vodkin, N. Titsa, A.Kravchenko
- "Makovtsy" - Father P.Florensky, V. Chekrygin
Revolution - new meanings and genres of painting
The leader of the revolutionary events of V. Alin saw in painting, as well as in the cinema, huge potential for:
- Education of the population (general), i.e. Elimination of its illiteracy
- Enlightenment by agitation, i.e. Artistic propaganda of new ideas
- The cultural revolution, according to Ilyich, necessary for the "backward country"
So there were whole campaign-mass directions in Russia connecting painting ,.
By the country, the steamers and trains painted by artists went, on which speakers, theatrical groups, film mechanics were sent to the people. Also, these agitoes were brought with themselves newspapers, posters and other print products, being inherently at that time an analogue of the media. In the hard five years after October of Russia almost did not have other means of information.
The walls and housings of such campaigns and trains were semantically decorated with either poster graphics or art panels using primitive forms and techniques, which could be available to an uneducated person.
Such painting was certainly complemented by the text explaining the content, as well as necessarily the motivating viewer to action.
As the most mobile and optimal-informative genre in the then revolutionary Russia, the chart itself became the graph, namely, the drawing (newspaper or magazine) and the poster.
The main species born by the revolution along with the new country of the poster genre, became: 
- Heroic and political type (thin. D.S. Moore, V.Makovsky)
- Satyric Type (Hood. V.N. Denny, M.M. Cheremnyh)
Agitational and informative "load" in the poster was given in a simple, but bright, tank graph. The slogans to her had artistic expressiveness and quickly perceived and remembered even with a short acquaintance.
Soviet artists who worked in a poster genre brought him to a high level of technology, possessing both their unique manners and personal artistic skills.
In fact, a poster as a kind or genre of painting, appeared earlier - in the 19th century, but in the young country who won the People's Revolution, he was born again and became a whole independent artistic phenomenon.
Tasks and functions of Soviet poster art
Still in the world war, the newspaper graphic played a significant role comparable to the action of direct or psychological weapons, which destroyed the enemy and raising to battle.
During the subsequent construction of the war, the poster continued to implement the same tasks, being an ideological means. As the entire history of the USSR shows, it will not have a single significant event or phenomenon that will remain outside their poster understanding.
Thus, the main functions of the Soviet poster were:
And for goals, this is also aesthetic education.
Gradually, as a genre, flawlessly coping with ideological tasks, the poster is excreted as a whole as the main type of painting. The revolution "enshrines" the status of this "high art", so in the country:
- Thematic poster exhibitions are held
- These works are included in the Museum Foundations
- Placed in archives
- Opened training courses
The artists who worked in this kind of art should certainly add that, despite the global politicalization of the poster genre, his art has always been embodied on a highly artistic level. In addition, in the future, in the functions of the Soviet poster, besides the above-mentioned, and tasks:
- Communication - as the relations of the people and power
- Image - as forming the image of power itself
- Educational - as developing moral and social topics
The culture of the Soviet and post-Soviet period is a bright large-scale turn of the Russian heritage. The events of 1917 were a reporting point in the development of a new way of life, the formation of a new thinking. The mood of society K.XIX-N.XX BB. Powered in the October Revolution, a turning point in the history of the country. Now she was waiting for a new future with his ideals and goals. Art, which in a sense is a mirror of the era, has become a tool for incarnation in the life of the dogmas of the new regime. Unlike other types of artistic creativity, painting, which forms and forming a person's thought, gentle and directly penetrated the consciousness of people. On the other hand, picturesque art least obeyed the propaganda function and reflected the experiences of the people, his dreams and above all the spirit of time.
Russian Avangard
New art did not avoid in absolutely old traditions. Painting, in the first post-revolutionary years, has absorbed the influence of futurists and avant-garde as a whole. Avangard with his contempt for the traditions of the past, which was so close to the destructive ideas of the revolution, found itself adherents in the face of young artists. In parallel with these trends in the visual arts, realistic trends developed, the life of which gave critical realism of the XIX century. This bipolarity, urged at the moment of changing the epoch, made the life of the artist of that time especially intense. Two paths that have emerged in post-revolutionary painting, though they were opposites, however, we can observe the impact of the avant-garde on the work of artists of the realistic direction. Realism itself was dirty in those years. The work of this style has a symbolic, agitation and even romantic look. Perfectly passes in the symbolic form a grand change in the life of the country, the work of B.M. Kustodiev - "Bolshevik" and, filled with pathetic tragedy and uncontrolled brassing "New Planet" K.F. Jouta.
Painting P.N. Filonov with its special creative method - "Analytical Realism" - is an alloy of two contrasting artistic currents, which we can see on the example of a cycle with the campaign name and the value of "entering the world flourishing".
PN Filons ships from a cycle input into world flourishing. 1919 GTG
The unquestion of universal values, unshakable even in such a turmoil time expresses the image of the beautiful "Petrograd Madonna" (Officer. Name "1918 in Petrograd") K.S. Petrova-Vodkina.
A positive attitude towards revolutionary events is infected with light and filled with solar, air atmosphere. Creativity of landscape player A.A. Rylov. The landscape "Sunset", in which the artist expressed a premonition of a fire of the revolution, which will grow up from the growing flame of the shipyard over the past epoch, represents one of the inspiring symbols of this time.
Together with the symbolic images that organize the rise of the people's spirit and fascinating, like obsession, there were also a direction in realistic painting, with a contract for the specific transmission of reality.
To this day, the work of this period is stored by the spark of the rebellion, able to declare itself inside each of us. Many of the works that were not endowed with such qualities or contradictory them, destroyed or were forgotten, and will never be introduced to our gaze.
Avangard forever leaves his imprint in realistic painting, but the period of intensive development of the direction of realism comes.
Time of artistic associations
The 1920s - the time of creating a new world on the ruins, which left the Civil War. For art, this period in which various creative associations have launched full force. Their principles are partly formed by early artistic groups. The Association of Revolution Artists (1922 - Agrh, 1928 -Ahr), personally performed state orders. Under the slogan of "heroic realism", artists who were in its composition were documented in their works life and life of a person - the brainchild of the revolution, in various genres of painting. The main representatives of Agrh were I.I. Brodsky, absorbed realistic influences I.E. Repin, who worked in the historical and revolutionary genre and created a whole series of works with the image of V.I. Lenina, E.M. Cheptsov - Master of the Household Genre, M.B. Greeks, writing battle scenes in fairly impressionistic Marrene. All these masters were the founders of the genres in which most of their works were performed. Among them, the Lenin in Smolny canvas stands out, in which I.I. Brodsky in the most direct and sincere form handed the image of the leader.
In the picture "Meeting of the Membership Cell" E.I. Cheptsov very reliably, without definition, depicts events that happened in the life of the people.
Gorgeous joyful, noisy image, filled with rapid motion and Victory holiday creates MB Greeks in the composition "Trumpeters of the first equestrian army."
The idea of \u200b\u200ba new person, a new image of a person express trends outlined in the genre of the portrait, whose bright masters were C.V. Malyutin and G.G. Ryazhsky. In the portrait of a fighter writer Dmitry Furmanova S.V. Malyutin shows the man of the old world, who managed to fit into the new world. Declares itself a new trend, originated in the work of N.A. Kasatkin and gained development to the highest in female images G.G. Ryazhsky - "Delegate", "Chairman", in which a personal beginning is erased and a type of person created by the new world is established.
A completely accurate impression is developing on the development of the landscape genre at the sight of the work of the advanced landscape system B.N. Yakovleva - "Transport is settled."
B.N. Yakovlev Transportation is settled. 1923.
In this genre, the update country is depicted, the normalization of all spheres of life. During these years, an industrial landscape comes to the foreground, the images of which become symbols of creation.
Society of Stankovist artists (1925) - the next artistic association during this period. Here the artist sought to transfer the spirit of modernity, the type of a new person resorting to a more detached transmission of images due to the minimum number of expressive means. The topic of sports is often demonstrated in the works of "coolests". Their painting is filled with dynamics and expression, which can be seen in the works of A.A. Deileki "Defense Petrograd", Yu.P. Pimenova "Football" and others.
As a basis for its artistic creativity, the members of another famous association - "Four Arts" - elected expressiveness of the image, due to a concise and structural form, as well as a special attitude towards its colorful saturation. The most memorable representative of the association is K.S. Petrov-Vodkin and one of the most outstanding works of this period - "Death of the Commissioner", which through a special pictorial language reveals a deep symbolic image, a symbol of struggle for the best life.
From the composition of "four arts" stands out and P.V. Kuznetsov, the works dedicated to the East.
The latest large artistic association of this period is the society of Moscow artists (1928), which is different from the rest of the vigorous modeling of volumes, attention to lighting and plastic expressiveness of the form. Almost all representatives were members of the "Bubnoy Volta" - adherents of futurism - which was strongly affected on their work. Indicative steel work P.P. Konchalovsky, who worked in different genres. For example, portraits of his wife O.V. Konchalovskaya passes the specifics of not only the author's hand, but also painting the entire association.
Resolution "On the restructuring of literary and art organizations" on April 23, 1932, all the artistic associations were dissolved and the Union of Artists of the USSR was created. Creativity was caught in the sinister way with rigid ideology. The freedom of expression of the artist was disturbed - the basis of the creative process. Despite such a dorm, artists continued their activities previously united in the community, but new figures took the lead in a picturesque environment.
B. V. Johanson experienced the influence of I.E. Repin and V.I. Surikova, in his canvases, a composite search and interesting opportunities in a colorful solution are visible, but the author's paintings are noted in an excessive satirical attitude, unsuitable in such a naturalistic manner that we can observe the example of the picture "on the Old Ural Plant".
A.A. Deineka does not remain aside from the "official" line of art. He is still true to its artistic principles. Now he continues to work in genre theme, and he also writes portraits and landscapes. The picture "Future pilots" well shows his painting during this period: romantic, lightning.
A large number of works The artist creates a sports topic. From this period, his watercolors remained, written after 1935.
The painting of the 1930s represents the invented world, the illusion of bright and festive life. The easiest to the artist was to remain sincere in the landscape genre. The genre of still life is developing.
Intensive development is susceptible to the portrait. P.P. Konchalovsky writes a series of cultural figures ("V. Sofronitsky per piano"). Work M.V. Nesterova, which absorbed the influence of painting V.A. Serov, show a man like the creator, whose essence is a creative search. So we see portraits of sculptor I.D. Shadra and Surgeon S.S. Judina.
P.D. Corin continues the portrait tradition of the previous artist, but its picturesque manner consists in the transfer of the rigidity of the shape, more acute, expressive silhouette and severe flavor. In general, the topic of creative intelligentsia plays great importance in the portrait.
Artist at war
With the arrival of the Great Patriotic War, artists begin to take an active part in hostilities. Because of the direct unity with events, in the early years, works appear, the essence of which is the fixation of what is happening, "picturesque sketch". Often, this picture did not give depth, but in their transfer, the artist's very sincere attitude was expressed, the height of the moral patellium. A portrait genre comes to relative flourishing. Artists, seeing and experiencing the destructive influence of the war, admire its heroes - people from the people, persistent and noble spirit that showed the highest humanistic qualities. Such trends poured into the front portraits: "Portrait of Marshal G.K. Zhukova »Brush P.D. Corina, Cheerful faces with cloths P.P. Konchalovsky. The portraits of the intelligentsia MS are important Saryan, created during the war years - this image of an academician "I.A. Orbel ", writer" M.S. Shaginyan, "etc.
From 1940 to 1945, the landscape and household genre also develops, which united in their work A.A. Layers. The "fascist flew" transmits the tragity of the life of this period.
The psychologist of the landscape here further fills the work of the sadness and silence of the human soul, only howl of a devoted friend cuts the wind of confusion. Ultimately, the value of the landscape is rethinking and starts to personify the harsh image of wartime.
Separately, plot paintings are allocated, for example, "Mother Partizana" S.V. Gerasimova, which is characterized by the refusal of the heroization of the image.
Historical painting timely creates images of the national heroes of the past. One of these unshakable and, inspireing confidence, the images are "Alexander Nevsky" P.D. Corina, personifying the uncompressed proud spirit of the people. In this genre, by the end of the war, there is a tendency to the tenth playwork.
Theme of war in painting
In the painting of post-war times. 1940 - Kon. The 1950s in painting leading position occupies the topic of war, as a moral and physical trial, from which the Soviet person came out the winner. The historical and revolutionary, historical genres develops. The main topic of the household genre is becoming peaceful work, which was dreamed of long war years. The canvas of this genre are permeated with cheerfulness and happiness. The artistic language of the household genre becomes narrative and lifestyles. In the last years of this period, the landscape also undergoes changes. The life of the region is reborn in it, the relationship between man and nature is reinforced, the atmosphere of ocently appears. Love for nature is hammered in still life. Interesting development gets a portrait in the work of different artists, for which the transmission of individual is characteristic. Some of the outstanding works of this period were: "Letter from the front" A.I. Lactionova, work, similar to the window to the radiant world;
composition "Rest after a fight" in which Yu.M. The earships seek the same vitality of the image as A.I. Laction;
work A.A. Mynikova "On the peaceful fields", joyfully unlike the termination of war and the reunification of man and labor;
original landscape image G.G. Nissky - "Over Snow", etc.
Stern style to change social evidence
Art 1960-1980s. is a new stage. There is a development of a new "harsh style", whose task consisted of recreating reality without all that deprives the work of depth and expressiveness and destructively affect creative manifestations. He was inherent in the laconicity and synthesis of the artistic image. The artists of this style challenged the heroic beginning of the harsh labor buddies, which was created by a special emotional picture of the paintings. "Stern style" was a certain step towards the democratization of society. The main genre to which the style adherents worked became a portrait, also developing a group portrait, household genre, historical and historical and revolutionary genre. Bright representatives of this period in the context of the development of "harsh style" was V.E. Popkov, writing many self-portrait-paintings, V.I. Ivanov Supporter of Group Portrait, G.M. Korzzhev, creating historical canvas. Disclosure of the essence of "harsh style" can be seen in the picture "Geologists" P.F. Nikonova, "Polarniki" A.A. and PA Smolina, "Father's Sineles" V.E. Popkov. In the genre of the landscape there is interest in the northern nature.
Symbolism of the era of stagnation
In 1970-1980 A new generation of artists is formed, the art of which influenced some extent on the art of today. They are characterized by a symbolic language, theater entertainment. Their painting is sufficiently artistic and virto. The main representatives of this generation are T.G. Nazarenko ("Pugachev")
the favorite theme of which was the holiday and Masquerade, A.G. Sitnikov, who uses the metaphor and parable, as the form of plastic language, N.I. Nesterova, the creator of ambiguous canvases ("Last Supper"), I.L. Lubennikov, N.N. Smirnov.
Last evening. N.I. Nesterova. 1989.
Thus, this time appears in its distinction and diverse, the final, forming link of today's visual art.
Our era is openly a huge wealth of the picturesque heritage of previous generations. The modern artist does not limit the almost no framework that have been determining, and sometimes hostile to the development of fine art. Some of the modern artists try to adhere to the principles of the Soviet realistic school, someone finds themselves in other styles and directions. The tendencies of conceptual art are very popular, ambiguously perceived by society. The latitude of artistic and expressive means and ideals, which provided us with the past, should be rethought and serve as the basis for new creative ways and creating a new image.
Our master classes on the history of art
Our gallery of contemporary art not only offers a large selection of Soviet art, and post-Soviet painting, but also conducts regular lectures and master classes on the history of contemporary art.
You can sign up for a master class, leave wishes on the master class, to which you would like to get by filling out the form you suggested. We will definitely read for you an interesting lecture on your chosen topic.
We are waiting for you in our lecture!
The "monumental propaganda" plan, adopted at the proposal of V. I. Lenin, was the most striking expression on the general principles of new art. The main goal of the "monumental propaganda" V. I. Lenin saw the art to serve the revolution, to raise the people in the spirit of new, communist world.
Together with the abolition of some monuments, "glorified tsarism," was prescribed to mobilize art forces and organize a competition for developing monument projects in honor of the October Socialist Revolution.
Starting from the fall of 1918, the first works of "monumental propaganda" appeared on the streets of Petrograd, Moscow: the monuments of Radishchev, Stepan, Rasin, Robespiera, Kalyaev, T. Shevchenko, and others.
Over the implementation of the plan worked many sculptors, which presented various creative trends, - N. Andreev, S. Konenkov, A. Matveyev, V. Mukhina, S. Mer-Kurov, V. Sinai, Architects L. Rudnev, I. Fomin, D. Osipov, V. Malent. The ideas of the Leninist Plan had an impact on a wider area of \u200b\u200bmonumental-decorative art - the festive design of cities, mass processions, etc. In the design of the streets of Moscow and Petrograd, prominent artists participated in the days of the Oktyabrskaya Revolution, including K. Petrov-Vodkin , B. Kustodiev, S. Gerasimov.
The characteristic feature of the visual art of the era of the revolution and the Civil War was the campaign orientation, which determined the value and place of individual species. Along with the monuments and memorial boards, the poster has become a poster, who spoken by the language of Allegoria (A. Apsit), political satire (V. Denis), and the highest height in the classic works of D. Moore ("Did you sign up for a volunteer?", " Help ").
Invracassed in their way there were also "Growth windows" V. Mayakovsky and M. Cheremny. "Telegraph" language of these posters, consciously simplified, was distinguished by sharpness and laconicism.
The political schedule is closely adjacent to the art of a poster, which was widely popularized by the magazines "Flame", "Red Armenian" and other periodicals. The revolutionary topics penetrated into the machine graphics (B. Kustodiev drawings), especially in the engraving on the tree and linoleum. "Troops" V. Falileev, "Armored" and "Cruiser Aurora" N. Kupyanova - typical works of graphics of this time. They are characterized by stressful contrasts of black and white manners, raising the role of silhouette.
The era of the revolution was reflected in the book illustration (Drawings of Yu. Annenkov to "Twelve" A. Blok, covers and book signs S. Chekhonin), but this genus of art was mostly associated with the new publications of classical literature, primarily "People's Library "(Works B. Kardovsky, E. Lancere, etc.).
In portrait graphics, V. I. Lenin (N. Altman, N. Andreev) were particularly valuable. Pleiad of large masters (A. Benua, M. Dobuzhinsky, A. Ostrumova-Lebedev) developed landscape schedules.
The old painting of the first post-revolutionary years is greater than any other type of art, experienced the pressure of the "left front". The "New Planet" K. John, Bolshevik B. Kustodiev, etc. indicated the desire of their authors to reveal the historical meaning of what is happening. Inherent in the entire Soviet art of the early period, the allegory penetrated even in landscape painting, breeding such a kind of response to modern events, such as the picture A. Rylov "in the blue spacious".
Among other arts, an architecture was located in a special position, the possibilities of which during this period did not go beyond the design of new tasks.
20s
In the 20s Among the Soviet artists there were many different groups: the Association of Artists of Revolutionary Russia, the Society of Stankovists, a society of Moscow artists, society of Russian sculptors, etc.
Despite the fact that Soviet art then looked a transitional character, a general style was gradually developed. In painting, classical traditions, and mostly the traditions of the Russian realistic school are becoming determining. Artists are increasingly turning to modernity. Together with the masters of the older generation, young painters are also served. For this time, the work of S. Malyutina, A. Arkhipova, G. Ryazhsky in the portrait genre, B. Johanson - in Moscow, M. Grekova, I. Brodsky, A. Gerasimov - in historical and revolutionary, A. Rylova, N. Crimea, B. Yakovlev - in the landscaped, etc. Change their attitude towards the surrounding, to the tasks of art artists who were grouped to the revolution around the magazine "The World of Art", former Cezannists. P. Konchalovsky, I. Mashkov, A. Kubrin worrying his dating flourishing; Real, life content is filled with even recently styling creativity K. Petrova-Vodkina; The new approach to the problems of figurative expressiveness affects the works of M. Saryan, S. Gerasimov, etc. The innovative tendencies of Soviet painting in the film "Defense Petrograd" A. Deneki (1928) were especially bright.
In the chart a prominent place was taken by a political cartoon (B. Efimov, L. Brodaty, etc.). At the same time, the value of the book illustration is growing, especially the book engraving on the tree (A. Kravchenko, P. Pavlinov, etc.). Her largest master V. Favorsky marked the beginning of a whole creative flow. Successful was also the development of machine-drawing, made by coal, pencil, lithography or black watercolor (N. Kuppeyanov, N. Ulyanov, Veresky, M. Rodionov).
Sculpture of the 20s. continued to follow the ideas of the Leninist Plan of "Monumental Propaganda". The circle of its tasks was noticeably expanded, great success reached a portrait sculpture (A. Golubanka, V. Domogatsky, S. Lebedev).
However, the main efforts of sculptors are straightened to create monuments. Unlike the first gypsum monuments that were temporary, new monuments are built of bronze and granite. These include monuments of V.I. Lenin at the Finnish station in Leningrad (V. Shchuko, V. Gelfreich, S. Yesheev), on the dam of the Zhon-Avchal hydroelectric station in Transcaucasia (I. Shadr) and in Petrozavodsk (M. Manizer).
The images of a generalizing value were created by A. Matveyev ("October Revolution"), I. Shadd ("Cobblestone - Weapon of the proletariat"), V. Mukhina ("Wind", "Peasanthie"), already at that time, the face of Soviet sculpture determined his work.
After the end of the Civil War there were conditions favorable for the development of architecture. Her priority, the most pressing task was housing construction (complexes of residential buildings on Usacheva Street in Moscow, on Tractor street in Leningrad, etc.). But very soon architects put in the center of their attention city planning problems, the construction of public ensembles, industrial construction. A. Shushev and I. Zoltovsky are developing the first plan for the reconstruction of Moscow. Under their leadership, the planning and construction of the All-Russian agricultural exhibition 1923 A. Shushev creates Mausoleum V. I. Lenin. Until the end of the 20s. According to the plans of Soviet architects, a number of buildings of various purposes were built (Izvestiya House of the city of Burhin; State Bank of the USSR I. Zoltovsky; Central Telegraph I. Rerberg), industrial complexes (Volkhovskaya hydroelectric station O. Mun-Centralia, N. Gundobin and V. Pokrovsky ; Dneprovskaya hydroelectric station V. Vespenina), etc.
One of the important parties to the creative activity of Soviet architects was the desire to develop new forms of architecture, corresponding to new tasks, modern materials and construction equipment.
30s
The success of the Soviet painting of these years is especially fully representing a new stage of creativity M. Nesterov, in whose work (portraits of Academician I. Pavlova, Brothers Corinos, V. Mukhina, S. Yudina) Depth and relief of the image of human characters are connected with a wide general topic of creative labor Soviet people. The high level of portrait painting is supported by P. Corin (portraits A. Gorky, M. Nesterova), I. Grabar (portrait of a son, portrait of S. Chaplygin), P. Konchalovsky (Portrait of V. Meyerhold, Portrait of a Negro Student), N. Ulyanov and others. The topic of the Civil War was embodied in the painting of S. Gerasimov "Oath of Siberian Partizan". The historical plots also wrote the "old owners" and "morning of the officer of the royal army" of Kukryniks (M. Kupriyanov, P. Krylov, N. Sokolov). A. Dainek ("Mother", "Future pilots" IT is becoming an outstanding master of paintings on the modern topic. An important step towards the development of the household genre is done by Y. Pimenov ("New Moscow") and A. Plaks ("Colhomous herd").
The development of graphics during this period is primarily associated with a book illustration. In this area, the Master of the Older Generation - S. Gerasimov ("The Case of Artamonov" M. Gorky), K. Rudakov (illustrations for the works of Mopassan), and young artists - D. Schmarinov ("Crime and Punishment" . Dostoevsky, "Peter I" A. Tolstoy), E. Kibrik ("Cola Brynon" R. Rollan, "Legend of the Ulenenspigel" Charles de Koster), Kukryniksi ("Life of Klim Samgin" M. Gorky and others), A. Kanevsky (Saltykov-Shchedrin works). An illustration of the Soviet Children's Book (V. Lebedev, V. Konashevich, A. Pakhomov) was noticeable. A fundamentally important change compared with the previous period was that the Soviet masters of the illustration switched (although somewhat one-way) from the decorative design of the book on the disclosure of ideological and artistic content of literary images, to develop human characters and dramatic activities expressed in the Renice of the following Another image.
In the book illustration, along with a realistic pattern, watercolor, lithography retisurates its value and engraving, represented by works of recognized masters, like V. Favorsky ("Vita Nuova" Dante, Hamlet Shakespeare), M. Pikov, A. Goncharov.
In the area of \u200b\u200bmachine graphics, a portrait genre (Veresky, M. Rodionov, A. Fonvizin) is put forward at this time.
A serious obstacle to the development of Soviet arts during these years is handicrafts, the trends of false monumentality, the parade associated with the cult of Stalin's personality.
In the art of architecture, the most important tasks were solved in connection with the problems of urban planning and the construction of residential, administrative, theatrical and other buildings, as well as large industrial facilities (such as, for example, the automobile plant in Moscow, the meat processing plant in Leningrad, the heat center of the automotive industry in the bitter, etc. .). Among architectural works are especially characteristic of the Council of Ministers in Moscow (A. Lengman), the Moscow Hotel (A. Schusev, L. Savelyev, O. Stappran), the Theater of the Soviet Army in Moscow (K. Alabian, V. Simbirstev ), Sanatorium named after Ordzhonikidze in Kislovodsk (M.Ginzburg), River Station in Khimki (A. Rukhlyadov) and others. The main aesthetic trend in the course of these works was to the traditional forms of classical order architecture. The non-critical use of such forms, the mechanical transfer of them to modernity often led to unnecessary external pomp and unjustified excesses.
New important features acquire the art of sculpture. Strengthening bonds of monumental-decorative sculpture with architecture becomes a characteristic feature of this period. Sculptural work - the group "Worker and collective farmers" - Mukhina appeared on the basis of the architectural project of the USSR pavilion at the International Exhibition of 1937 in Paris. The synthesis of the sculpture with the architecture also manifested itself in the design of the Moscow Metro, the Canal named after Moscow, the All-Union Agricultural Exhibition, the USSR Pavilion at the International Exhibition in New York.
From the works of the monumental sculpture of these years, monuments of Taras Shevchenko in Kharkov (M. Manizer) and Kirov in Leningrad (N. Tomsk) had the most important.
Further development receives a sculptural portrait (V. Mukhina, S. Lebedev, Kepinov, 3. Vilensky and others). Many sculptors successfully work on the typical generalization of the images of contemporaries (Metallurg Motovilov, "Young Worker" V. Sinai).
The culture of the Soviet and post-Soviet period is a bright large-scale turn of the Russian heritage. The events of 1917 were a reporting point in the development of a new way of life, the formation of a new thinking. The mood of society K.XIX-N.XX BB. Powered in the October Revolution, a turning point in the history of the country. Now she was waiting for a new future with his ideals and goals. Art, which in a sense is a mirror of the era, has become a tool for incarnation in the life of the dogmas of the new regime. Unlike other types of artistic creativity, painting, which forms and forming a person's thought, gentle and directly penetrated the consciousness of people. On the other hand, picturesque art least obeyed the propaganda function and reflected the experiences of the people, his dreams and above all the spirit of time.
Russian Avangard
New art did not avoid in absolutely old traditions. Painting, in the first post-revolutionary years, has absorbed the influence of futurists and avant-garde as a whole. Avangard with his contempt for the traditions of the past, which was so close to the destructive ideas of the revolution, found itself adherents in the face of young artists. In parallel with these trends in the visual arts, realistic trends developed, the life of which gave critical realism of the XIX century. This bipolarity, urged at the moment of changing the epoch, made the life of the artist of that time especially intense. Two paths that have emerged in post-revolutionary painting, though they were opposites, however, we can observe the impact of the avant-garde on the work of artists of the realistic direction. Realism itself was dirty in those years. The work of this style has a symbolic, agitation and even romantic look. Perfectly passes in the symbolic form a grand change in the life of the country, the work of B.M. Kustodiev - "Bolshevik" and, filled with pathetic tragedy and uncontrolled brassing "New Planet" K.F. Jouta.
Painting P.N. Filonov with its special creative method - "Analytical Realism" - is an alloy of two contrasting artistic currents, which we can see on the example of a cycle with the campaign name and the value of "entering the world flourishing".
PN Filons ships from a cycle input into world flourishing. 1919 GTG
The unquestion of universal values, unshakable even in such a turmoil time expresses the image of the beautiful "Petrograd Madonna" (Officer. Name "1918 in Petrograd") K.S. Petrova-Vodkina.
A positive attitude towards revolutionary events is infected with light and filled with solar, air atmosphere. Creativity of landscape player A.A. Rylov. The landscape "Sunset", in which the artist expressed a premonition of a fire of the revolution, which will grow up from the growing flame of the shipyard over the past epoch, represents one of the inspiring symbols of this time.
Together with the symbolic images that organize the rise of the people's spirit and fascinating, like obsession, there were also a direction in realistic painting, with a contract for the specific transmission of reality.
To this day, the work of this period is stored by the spark of the rebellion, able to declare itself inside each of us. Many of the works that were not endowed with such qualities or contradictory them, destroyed or were forgotten, and will never be introduced to our gaze.
Avangard forever leaves his imprint in realistic painting, but the period of intensive development of the direction of realism comes.
Time of artistic associations
The 1920s - the time of creating a new world on the ruins, which left the Civil War. For art, this period in which various creative associations have launched full force. Their principles are partly formed by early artistic groups. The Association of Revolution Artists (1922 - Agrh, 1928 -Ahr), personally performed state orders. Under the slogan of "heroic realism", artists who were in its composition were documented in their works life and life of a person - the brainchild of the revolution, in various genres of painting. The main representatives of Agrh were I.I. Brodsky, absorbed realistic influences I.E. Repin, who worked in the historical and revolutionary genre and created a whole series of works with the image of V.I. Lenina, E.M. Cheptsov - Master of the Household Genre, M.B. Greeks, writing battle scenes in fairly impressionistic Marrene. All these masters were the founders of the genres in which most of their works were performed. Among them, the Lenin in Smolny canvas stands out, in which I.I. Brodsky in the most direct and sincere form handed the image of the leader.
In the picture "Meeting of the Membership Cell" E.I. Cheptsov very reliably, without definition, depicts events that happened in the life of the people.
Gorgeous joyful, noisy image, filled with rapid motion and Victory holiday creates MB Greeks in the composition "Trumpeters of the first equestrian army."
The idea of \u200b\u200ba new person, a new image of a person express trends outlined in the genre of the portrait, whose bright masters were C.V. Malyutin and G.G. Ryazhsky. In the portrait of a fighter writer Dmitry Furmanova S.V. Malyutin shows the man of the old world, who managed to fit into the new world. Declares itself a new trend, originated in the work of N.A. Kasatkin and gained development to the highest in female images G.G. Ryazhsky - "Delegate", "Chairman", in which a personal beginning is erased and a type of person created by the new world is established.
A completely accurate impression is developing on the development of the landscape genre at the sight of the work of the advanced landscape system B.N. Yakovleva - "Transport is settled."
B.N. Yakovlev Transportation is settled. 1923.
In this genre, the update country is depicted, the normalization of all spheres of life. During these years, an industrial landscape comes to the foreground, the images of which become symbols of creation.
Society of Stankovist artists (1925) - the next artistic association during this period. Here the artist sought to transfer the spirit of modernity, the type of a new person resorting to a more detached transmission of images due to the minimum number of expressive means. The topic of sports is often demonstrated in the works of "coolests". Their painting is filled with dynamics and expression, which can be seen in the works of A.A. Deileki "Defense Petrograd", Yu.P. Pimenova "Football" and others.
As a basis for its artistic creativity, the members of another famous association - "Four Arts" - elected expressiveness of the image, due to a concise and structural form, as well as a special attitude towards its colorful saturation. The most memorable representative of the association is K.S. Petrov-Vodkin and one of the most outstanding works of this period - "Death of the Commissioner", which through a special pictorial language reveals a deep symbolic image, a symbol of struggle for the best life.
From the composition of "four arts" stands out and P.V. Kuznetsov, the works dedicated to the East.
The latest large artistic association of this period is the society of Moscow artists (1928), which is different from the rest of the vigorous modeling of volumes, attention to lighting and plastic expressiveness of the form. Almost all representatives were members of the "Bubnoy Volta" - adherents of futurism - which was strongly affected on their work. Indicative steel work P.P. Konchalovsky, who worked in different genres. For example, portraits of his wife O.V. Konchalovskaya passes the specifics of not only the author's hand, but also painting the entire association.
Resolution "On the restructuring of literary and art organizations" on April 23, 1932, all the artistic associations were dissolved and the Union of Artists of the USSR was created. Creativity was caught in the sinister way with rigid ideology. The freedom of expression of the artist was disturbed - the basis of the creative process. Despite such a dorm, artists continued their activities previously united in the community, but new figures took the lead in a picturesque environment.
B. V. Johanson experienced the influence of I.E. Repin and V.I. Surikova, in his canvases, a composite search and interesting opportunities in a colorful solution are visible, but the author's paintings are noted in an excessive satirical attitude, unsuitable in such a naturalistic manner that we can observe the example of the picture "on the Old Ural Plant".
A.A. Deineka does not remain aside from the "official" line of art. He is still true to its artistic principles. Now he continues to work in genre theme, and he also writes portraits and landscapes. The picture "Future pilots" well shows his painting during this period: romantic, lightning.
A large number of works The artist creates a sports topic. From this period, his watercolors remained, written after 1935.
The painting of the 1930s represents the invented world, the illusion of bright and festive life. The easiest to the artist was to remain sincere in the landscape genre. The genre of still life is developing.
Intensive development is susceptible to the portrait. P.P. Konchalovsky writes a series of cultural figures ("V. Sofronitsky per piano"). Work M.V. Nesterova, which absorbed the influence of painting V.A. Serov, show a man like the creator, whose essence is a creative search. So we see portraits of sculptor I.D. Shadra and Surgeon S.S. Judina.
P.D. Corin continues the portrait tradition of the previous artist, but its picturesque manner consists in the transfer of the rigidity of the shape, more acute, expressive silhouette and severe flavor. In general, the topic of creative intelligentsia plays great importance in the portrait.
Artist at war
With the arrival of the Great Patriotic War, artists begin to take an active part in hostilities. Because of the direct unity with events, in the early years, works appear, the essence of which is the fixation of what is happening, "picturesque sketch". Often, this picture did not give depth, but in their transfer, the artist's very sincere attitude was expressed, the height of the moral patellium. A portrait genre comes to relative flourishing. Artists, seeing and experiencing the destructive influence of the war, admire its heroes - people from the people, persistent and noble spirit that showed the highest humanistic qualities. Such trends poured into the front portraits: "Portrait of Marshal G.K. Zhukova »Brush P.D. Corina, Cheerful faces with cloths P.P. Konchalovsky. The portraits of the intelligentsia MS are important Saryan, created during the war years - this image of an academician "I.A. Orbel ", writer" M.S. Shaginyan, "etc.
From 1940 to 1945, the landscape and household genre also develops, which united in their work A.A. Layers. The "fascist flew" transmits the tragity of the life of this period.
The psychologist of the landscape here further fills the work of the sadness and silence of the human soul, only howl of a devoted friend cuts the wind of confusion. Ultimately, the value of the landscape is rethinking and starts to personify the harsh image of wartime.
Separately, plot paintings are allocated, for example, "Mother Partizana" S.V. Gerasimova, which is characterized by the refusal of the heroization of the image.
Historical painting timely creates images of the national heroes of the past. One of these unshakable and, inspireing confidence, the images are "Alexander Nevsky" P.D. Corina, personifying the uncompressed proud spirit of the people. In this genre, by the end of the war, there is a tendency to the tenth playwork.
Theme of war in painting
In the painting of post-war times. 1940 - Kon. The 1950s in painting leading position occupies the topic of war, as a moral and physical trial, from which the Soviet person came out the winner. The historical and revolutionary, historical genres develops. The main topic of the household genre is becoming peaceful work, which was dreamed of long war years. The canvas of this genre are permeated with cheerfulness and happiness. The artistic language of the household genre becomes narrative and lifestyles. In the last years of this period, the landscape also undergoes changes. The life of the region is reborn in it, the relationship between man and nature is reinforced, the atmosphere of ocently appears. Love for nature is hammered in still life. Interesting development gets a portrait in the work of different artists, for which the transmission of individual is characteristic. Some of the outstanding works of this period were: "Letter from the front" A.I. Lactionova, work, similar to the window to the radiant world;
composition "Rest after a fight" in which Yu.M. The earships seek the same vitality of the image as A.I. Laction;
work A.A. Mynikova "On the peaceful fields", joyfully unlike the termination of war and the reunification of man and labor;
original landscape image G.G. Nissky - "Over Snow", etc.
Stern style to change social evidence
Art 1960-1980s. is a new stage. There is a development of a new "harsh style", whose task consisted of recreating reality without all that deprives the work of depth and expressiveness and destructively affect creative manifestations. He was inherent in the laconicity and synthesis of the artistic image. The artists of this style challenged the heroic beginning of the harsh labor buddies, which was created by a special emotional picture of the paintings. "Stern style" was a certain step towards the democratization of society. The main genre to which the style adherents worked became a portrait, also developing a group portrait, household genre, historical and historical and revolutionary genre. Bright representatives of this period in the context of the development of "harsh style" was V.E. Popkov, writing many self-portrait-paintings, V.I. Ivanov Supporter of Group Portrait, G.M. Korzzhev, creating historical canvas. Disclosure of the essence of "harsh style" can be seen in the picture "Geologists" P.F. Nikonova, "Polarniki" A.A. and PA Smolina, "Father's Sineles" V.E. Popkov. In the genre of the landscape there is interest in the northern nature.
Symbolism of the era of stagnation
In 1970-1980 A new generation of artists is formed, the art of which influenced some extent on the art of today. They are characterized by a symbolic language, theater entertainment. Their painting is sufficiently artistic and virto. The main representatives of this generation are T.G. Nazarenko ("Pugachev")
the favorite theme of which was the holiday and Masquerade, A.G. Sitnikov, who uses the metaphor and parable, as the form of plastic language, N.I. Nesterova, the creator of ambiguous canvases ("Last Supper"), I.L. Lubennikov, N.N. Smirnov.
Last evening. N.I. Nesterova. 1989.
Thus, this time appears in its distinction and diverse, the final, forming link of today's visual art.
Our era is openly a huge wealth of the picturesque heritage of previous generations. The modern artist does not limit the almost no framework that have been determining, and sometimes hostile to the development of fine art. Some of the modern artists try to adhere to the principles of the Soviet realistic school, someone finds themselves in other styles and directions. The tendencies of conceptual art are very popular, ambiguously perceived by society. The latitude of artistic and expressive means and ideals, which provided us with the past, should be rethought and serve as the basis for new creative ways and creating a new image.
Our master classes on the history of art
Our gallery of contemporary art not only offers a large selection of Soviet art, and post-Soviet painting, but also conducts regular lectures and master classes on the history of contemporary art.
You can sign up for a master class, leave wishes on the master class, to which you would like to get by filling out the form you suggested. We will definitely read for you an interesting lecture on your chosen topic.
We are waiting for you in our lecture!