In 1934, at the I All-Union Congress of Soviet Writers, Maxim Gorky formulated the basic principles of socialism as the method of Soviet literature and art. This moment the beginning of the new era of Soviet art is dating, with more stringent ideological control and propaganda schemes.

Basic principles:

• - Nature. As a rule, the heroes of socially realistic works became workers of the city and villages, workers and peasants, representatives of technical intelligentsia and military personnel, the Bolsheviks and non-partisan.
• - Idea. Show a peaceful life of the people, search for ways to a new, better life, heroic actions in order to achieve a happy life for all people.
• - concreteness. In the image of reality, show the process of historical development, which in turn must comply with the materialistic understanding of the story (in the process of changing the conditions of their being, people change their consciousness, attitude to the surrounding reality).

In the years, followed by this decision of the Central Committee of the CCP (b) on the restructuring of literary and art organizations, a number of major events aimed at the development of art in the robust required for the state were held. The practice of state orders, creative business trips, the arrangement of large-scale thematic and anniversary exhibitions is expanding. Soviet artists create many works (panels, monumental, decorative) for the future of VDNH. This meant an important stage of the revival of monumental art as an independent one. In these works, it became obvious that the thrust of Soviet art to monumentality is not accidental, but reflects the "grand prospects for the development of a socialist society."

In 1918, Lenin in a conversation with K. Zetkin identified the tasks of art in the Soviet society: "Art belongs to the people. It should go to his deepest roots into the largest mass workers. It should be clear these masses and loved by them. It should combine the feeling, thought and will of these masses, raise them. It should awaken artists in them and develop them. "

In the period under review, along with already existing areas of art, several fundamentally new new, for example, avant-garde appeared.

As part of the monumental style, the sculpture is the greatest interest. Like all other directions in Soviet art, the sculpture of the period had the campaign orientation and patriotic content of the plots. Little importance for the development of the sculpture was played by the Leninsky Plan of Monumental Propaganda, adopted in 1918. In accordance with this plan, monuments propagating new revolutionary values \u200b\u200bwere established throughout the country. For work, prominent sculptors were attracted: N.A. Andreev (who subsequently became the creator of sculptural Leninians). Another prominent sculptor of this period is Ivan Shadd. In 1922, he created the Statues "Worker", "Sewer", "Peasant", "Red Army". The originality of its method is a generalization of the image based on a specific genre string, a powerful modeling of volumes, expressiveness of movement, romantic pathos. The brightest work is "a cobblestone - the weapon of the proletariat. 1905 year "(1927). In the same year, the monument to Lenin is installed on the territory of the hydroelectric power station in the Caucasus, the monument to Lenin is "one of the best." Faith Mukhina is formed as a master too in the 20th. During this period, she creates a project of a monument "Liberated Labor" (1920, not preserved), "Peasant" (1927). From more mature masters, the work of Sarry Lebedeva, which created portraits. In his understanding of the form, it takes into account the traditions and experience of impressionism. Alexander Matveyev is characterized by classical clarity in understanding the structural framework of plastics, harmony of the sculptural masses and the ratio of volumes in space ("undressing woman", "Woman putting on a shoe"), as well as the famous "October" (1927), where 3 nude men's composition included in the composition Figures - a combination of classical traditions and the ideal of the "man of the revolution era" (attributes - sickle, hammer, budenovka).

Types of art capable of living on the streets, in the early years after the revolution, played a crucial role in the "formation of the social and aesthetic consciousness of the revolutionary people." Therefore, along with a monumental sculpture, the most active development received a political poster. It turned out to be the most mobile and operational art. During the period of the civil war, this genre was characterized by the following qualities: "The sharpness of the filing of the material, an instant reaction to rapidly changing events, the campaign orientation, which has developed the main features of the plastic language of the poster. They turned out to be laconic, the conventionality of the image, the clarity of the silhouette and gesture. The posters were extremely common, printed with large circulations and were stationed everywhere. A special place in the development of the poster is the windows of growth satire, in which the outstanding role was played by Cheremny, Mikhail Mikhailovich and Vladimir Mayakovsky. These are posters made by stencil painted by hand and with poetic inscriptions on the evil day. They played a huge role in political propaganda and became a new figurative form. The decoration of the festivities is another new phenomenon of Soviet art that did not have the tradition. The holidays included the anniversary of the October Revolution, May 1, March 8 and other Soviet holidays. It created a new non-traditional type of art, thanks to which painting acquired a new space and functions. For the holidays, monumental panels were created, which were characterized by a huge monumental-agitational pathos. Artists created sketches of space and streets.

In the design of these holidays, Petrov-Vodkin, Kustodiev, E. Lancere, S. V. Gerasimov.

Soviet art and recognition Delilo masters of the Soviet painting of this period into two groups:

• - Artists who sought to capture the plots with the usual fine language of factual display;
• - Artists who used a more complex, figurative perception of modernity.

They created the images symbols in which they tried to express their "poetic, inspirational" perception of the era in its new state. Konstantin Jun created one of the first works dedicated to the image of the revolution ("New Planet", 1920, GTG), where the event is interpreted in an universal, outer scale. Petrov-Vodkin in 1920 created the picture "1918 in Petrograd (Petrograd Madonna)", solving ethical and philosophical problems in it. Arkady Flylov, as it was believed in his landscape "in the blue spacious" (1918), also thinks symbolically, expressing the "free breath of mankind, escaped into immense expanses of the world, to romantic discoveries, to free and strong experiences."

New images are also traced in the chart. Nikolai Kreyanov "In a complex technique, wooden engravings seeks to express their impressions of the revolution" ("Armoroviki", 1918; "Vollean Aurora", 1920). In the 1930s, monumental painting became the mandatory link of the whole artistic culture. It depended on the development of architecture and firmly was connected with it. Pre-revolutionary traditions continued at this time, the former Miriskusnik Evgeny Lancere - the painting of the restaurant hall of the Kazan Station (1933) demonstrates his craving for mobile baroque form. It breaks the plane plane, expanding the space outside. Deineka, who also contributes a great contribution to monumental painting, works differently. His mosaic stations "Mayakovskaya" (1938) are created using a modern style: rhythm sharpness, dynamics of local colorful spots, angle energy, conventionality of the figures and objects. Topics mostly sports. The Favorsky, famous schedule, also contributed to monumental painting: He applied its system for building a form developed in a book illustration, to new tasks. His murals of the Museum and Infancy Museum (1933, along with Lvom Bruni) and houses of the models (1935) show an understanding of the role of the plane, the connection of the fresco with architecture with a support for the experience of the ancient Russian painting. (Both works are not preserved).

The dominant style in the architecture of the 20s was constructivism.

Constructivists tried to use new technical capabilities to create simple, logical, functionally acquitted forms, expedient structures. An example of the architecture of Soviet constructivism can serve as the projects of the spring brothers. The most ambitious of them is the palace of labor and was not embodied in life, but he had a significant impact on the development of domestic architecture. Unfortunately, architectural monuments were also destroyed: only in the 30s. The Sukhareva Tower, the Church of Christ the Savior, the Chimusons of the Monastery in the Kremlin, the Red Gate and hundreds of unreserved urban and rural churches, were destroyed in Moscow, and many of which were historical and artistic value.

In connection with the political nature of the Soviet art, a lot of artistic associations and groups with their platforms and manifestos are created. Art was in the search and was diverse. The main groups were AHRR, OST, as well as "4 arts". The Association of Artists of Revolutionary Russia was founded in 1922. Her kernel was the former mobile phone, the manner of which had a great influence on the group's approach - a realistic life-friendly language of late movement, "walking to the people" and thematic expositions. In addition to those pictures (dictated by the revolution) for AHRR, the device was characterized by a device of thematic exhibitions like "life and life of workers", "Life and life of the Red Army".

Master masters and works of grouping: Isaac Brodsky ("Lenin's performance on Putilovsky Plant", "Lenin in Smolny"), Georgy Ryazhsky ("Delegate", 1927; "Chairman", 1928), Portraitist Sergey Malyutin ("Portrait of Furmanova", 1922 ), Abram Arkupov, Efim Chererts ("Celebration Meeting", 1924), Vasily Yakovlev ("Transportation is established", 1923), Mitrofan Greek ("Tachaca", 1925, later "on Kuban" and "Kubachi first equestrian", 1934 ). The Society of Stankovists, founded in 1925, included artists with less conservative from the point of view of painting views, mainly students in Vhowemas. These were: Williams "Hamburg uprising"), Deineka ("At the construction site of new workshops", 1925; "Before descending into the mine", 1924; "Defense Petrograd", 1928), Labas Luchishkin ("The ball flew away", "I love life "), Pimenov (" Heavy Industry "), Tyshler, Sterleberg, and so on. They supported the slogan of the revival and development of the machine painting, but were not focused on realism, but the experience of modern expressionists. From those they were close to industrialization, life of the city and sport. The "Four Arts" society was founded by artists who were previously in the world of art and a blue rose, which took care of culture and painting language. The most prominent members of the association: Pavel Kuznetsov, Petrov-Vodkin, Saryan, Favorsky and many other outstanding masters. For society, a philosophical background with an adequate plastic expression was characterized. The Society of Moscow artists included former members of the associations "Moscow painters", "Makovets" and "Genesis", as well as members of the "Bubnoy Valt". The most active artists: Peter Konchalovsky, Ilya Mashkov, Lentulov, Alexander Kuprin, Robert Falk, Vasily Christmas, Osmertkin, Sergey Gerasimov, Nikolai Chernyshev, Igor Grabar. Artists created "thematic" paintings using the troubled "Bubnovo-Valtovsky" and so on. Trends of avant-garde school. The work of these groups was the symptom that the consciousness of the masters of the older generation was trying to restructure under new realities. In the 1920s, two large-scale exhibitions were held, which secured trends - to the 10th anniversary of October and the Red Army, as well as the "Exhibition of Art of Peoples of the USSR" (1927).

The leading sphere of the development of literature in the 20s. Undoubtedly, there is poetry. In the form of a literary life in many ways remained the same. As at the beginning of the century, the tone was asked by literary circles, many of which survived the bloodstand and continued to operate in the 20s: symbolists, futurists, acmeysts, etc. There are new circles and associations, but rivalry between them now go beyond the artistic spheres and often acquires political coloring. The most important for the development of literature was the association of rapp, "Pass", "Serapionov Brothers" and Lef.

Rappa (Russian Association of Proletarian Writers) was submitted at the I All-Union Conference of Proletarian Writers in 1925. It included writers (from the most famous A. Fadeev and D. Furmanov) and literary critics. The predecessor of the rapp was "Prelicht" - one of the most popular organizations, founded in 1917. They were treated as "class enemies" of almost all writers who were not included in their organization. Among the authors who were subjected to attacks from Rappovs were not only A. Akhmatov, Z. Hippius, I. Bunin, but even such recognized "singers of the revolution", like M. Gorky and V. Mayakovsky. The ideological opposition of PAPs was the literary group "Pass".

The group of "Serapiones Brothers" was established in 1921 in the Petrogradsky House of Art. The group included such well-known writers as V. Ivanov, M. Zoshchenko, K. Fedin, and others.

Lef - Left Front of Arts. The positions of the members of this organization (V.Makovsky, N. Aseev, S. Eisenstein, etc.) are very contradictory. Combining futurism with an innovation in the spirit of the prostrolet, they acted with a very fantastic idea of \u200b\u200bcreating a certain "production" art, which should have been carried out in society the utilitarian function of providing a favorable atmosphere for material production. Art was viewed as an element of technical construction, without any subtext, the fiction of psychologist, etc.

Of great importance for the development of Russian literature XX in. Poetic creativity V. Ya. Bolsova, E. G. Bagritsky, O. E. Mandelstam, B. L. Pasternak, D. Poor, "Peasant" poets, the brightest representative of whom Enesenina N. A. Klyuev was. A special page in the history of domestic literature is the work of poets and writers who did not accept the revolution and forced to leave the country. Among them are such names like M. I. Tsvevaeva, Z.N. Hippius, I. A. Bunin, A. N. Tolstoy, V. V. Nabokov. Some of them, realizing the inability to live for themselves away from their homeland, later returned (Tsvetaeva, Tolstoy). Modernist trends in the literature manifested themselves in the work of E. I. Zamyatina, the author of the fantastic novel-anti-nightopy "We" (1924). Satyrian literature 20s. represented by the stories of M. Zoshchenko; Romanians of co-authors I. Ilf (I. A. Finezilberg) and E. Petrov (E. P. Kataeva) "Twelve chairs" (1928), "Golden calf" (1931), etc.

In the 30s. There are several major works entering the history of Russian culture. Sholokhov creates novels "Quiet Don", "raised virgin". Creativity Sholokhov received world recognition: for writing merit, he was awarded the Nobel Prize. In the thirties completes its last Roman-epic "Life of Klim Samgin" M. Gorky. Creativity N. A. Ostrovsky had a huge popularity, the author of the novel "How Steel hardened" (1934). A. N. Tolstoy (Peter I 1929-1945) became the classic of the Soviet historical novel.) The twentieth and thirties are the heyday of children's literature. Several generations of Soviet people grew on the books of K. I. Chukovsky, S. Ya. Marshak, A. P. Gaidar, S. V. Mikhalkov, A. L. Barto, V. A. Kaverina, L. A. Kassille, in . P. Kataeva.

In 1928, M. Bulgakov, who was identified by Soviet criticism, without any hope of publishing, begins to write his best novel "Master and Margarita". Work on the novel continued until the death of the writer in 1940. This was published only in 1966. In the late 80s, the work of A. P. Platonova (Clementov) "Cheving", "Kotlovan", "Juvenile Sea" . "In the table" the poets A. A. Akhmatova, B. L. Pasternak worked. Tragic fate of Mandelstam (1891-1938). The poet of extraordinary strength and a big visual accuracy was among the writers who, having accepted the October Revolution in due time, could not get along in Stalin's society. In 1938 he was repressed.

In the 30s. The Soviet Union gradually begins to be corrected from the rest of the world. Many Russian writers remained behind the Iron Curtain, which, despite not what they continue to work. The writer of the first magnitude was the poet and the prose of Ivan Alekseevich Bunin (1870-1953). Bunin did not accept the revolution from the very beginning and emigrated to France (the story "Mitin Love", the novel "The Life of Arsenyev", a collection of stories "Dark alleys"). In 1933, he was awarded the Nobel Prize.

At the beginning of the 30s. An end was the existence of free creative circles and groups. In 1934, the "All-Union Congress of Soviet writers was organized by the" Union of Writers ", which were forced to join all people engaged in literary labor. The Writers Union has become a tool for total control of power over the creative process. It was impossible not to be a member of the Union, since in that case the writer was deprived of the opportunity to publish his works and, moreover, could be brought to criminal responsibility for the "Tuneshi". At the origins of this organization stood M. Gorky, but his chairmanship in it continued not long. After his death in 1936, A. A. Fadeev became the chairman. In addition to the "Union of Writers", other "creative" unions were organized: "Union of Artists", "Union of Architects", "Union of Composers". In the Soviet art there was a period of uniformity.

The revolution released powerful creative forces. It also affected the development of domestic theatrical art. There are many theatrical teams. A large role in the formation of theatrical art was played by a large dramatic theater in Leningrad, the first artistic director of which was A. Block, theater them. V. Meyerhold, theater them. E. Vakhtangov, Moscow Theater. Mossovet.

By the mid-20s, the appearance of Soviet dramaturgy, which had a huge impact on the development of theatrical art. The largest events of theatrical seasons 1925-1927. Steel "Storm" V. Bill-Belotserkovsky in the theater. MGSPS, "Love Yarovaya" K. Treneva in the Small Theater, "Rift" B. Lavrenev in the theater. E. Vakhtangov and in the Great Drama Theater, "Armored Train 14-69" V. Ivanova in Mkate. The classic occupied a solid place in the repertoire of theaters. Attempts by her new readings were made by both academic theaters ("hot heart" A. Ostrovsky in Mkhate) and "Left" ("Forest" A. Ostrovsky and "Auditor" N. Gogol in the theater. V. Meyerhold).

If the dramatic theaters by the end of the first Soviet decade rebuilt their repertoire, then the main place in the activities of the opera and ballet teams was still classical. The only major success in the reflection of the modern theme was the formulation of the ballet R. Glyover "Red Mac" ("Red Flower"). In the countries of Western Europe and America made L.V. Sobinov, A.V. Nezhdanova, N.S. Golovanov, Mkhatov troupe, chamber theater, studio. E. Vakhtangova, Vintage Russian Tool Quartet

The musical life of the country in those years is associated with the names of S. Prokofiev, D. Shostakovich, A. Khachaturian, T. Khrennikova, D. Kabalevsky, I. Dunaevsky, etc. The young conductors of E. Mravinsky, B. Haykin, were prompted. Musical ensembles were created, in the consequence of the most famous domestic musical culture: the quartet. Beethoven, the Big State Symphony Orchestra, the Orchestra of the State Philharmonic and others. In 1932, the Union of Composers of the USSR was formed.

Along with the older generation actors (M. N. Yermolova, A. M. Yazzhin, A. A. Ostyzhev, V. I. Kachalov, O. L. Kripperzekov), a new revolutionary theater arises. The search for new forms of scenic expressiveness is characteristic of the theater worked under the leadership of V. E. Meyerhold (now theater. Meyerhold). On the stage of this theater, the Pieces of V. Mayakovsky "Miscelion-Buff" (1921), "Klop" (1929) and others were put. A major contribution to the development of the theater was made by the director of the 3rd Studio MCAT E. B. Vakhtangov ; The organizer and head of the chamber theater, the reformer of stage art A. Ya. Tairov.

One of the most important and interesting phenomena in the history of the culture of the 20th Gg. It was the beginning of the development of Soviet cinema. Cinequimalism develops, which has become one of the most effective tools of ideological struggle and agitation along with a poster. An important milestone in the development of artistic game cinema was the film Sergey Mikhailovich Eisenstein (1898 - 1948) "Bramenos Potemkin" (1925), who became one of the world masterpieces. Under the squall of critics, symbols, futurists, impressionists, imagineers, etc. were accused of "formalistic extensions", in the fact that their art does not need to the Soviet people, that it is hostile to socialism. Composer D. Shostakovich, Director S. Eisenstein, Writers B. Pasternak, Yu. Many art figures were repressed.

political Culture Totalitarianism Ideology

Artists of the 30s

Artists Deineka, Pimenov, Williams, S.Gerasimov, Kubrin, Konchalovsky, Lentulov, Mashkov, Ulyanov, Mukhina, Kuznetsov, Saryan

With Daenekoy, I first met in Leningrad. He came when the exhibition was already shaken, in the most recent days before the discovery, removed all his work from the wall and hung them to - to his own, cutting very strongly: some small owls were brought, and he removed them. In the end, there was "defense Petrograd", "sleeping boy with cornflowers", a number of first-class things. Then Deineka impressed me strange and rather negative. He was cut, a little rude. Most people perceived him and perceived - what? Then athlete, football player or boxer. But I, fortunately, quite quickly figured out his real character. He did not contain anything like this, it was a manner to keep himself with outsiders, with strangers. I got close to him in the mid-30s, when I began to work in the children, the conversation would be next. And the longer time passed, the time he became closer and closer. The last our correspondence date two days before his death was the exchange of the most gentle words on the phone on both sides.

With another coestle - Yuri Ivanovich Pimenov, I did not meet in Leningrad. In Leningrad, there were very few of his work, and I saw it for the first time in Moscow, when the Deputy Director of the Russian Museum, the extraordinary arrived to pay with artists for their work acquired in Leningrad. All of them were collected on the Volkhonka, in one of those small houses that are located between Frunze Street and the Museum. All artists were sitting in the corridor and chatted, and they were invited in turn in what? Then the room. And here I saw the first time and remembered Pimenova. He showed how three artists make landscapes for sale: one lay down a lot of identical canvases and fills them with blue paint depicting the sea, the second passes and spends black paint what boats, and the latter puts in a single smear white sails. He portrayed it unusually temperamentally and very expressive.

We have a very quick relationship with him, but not on the museum soil, because he did not do any graphics - neither engraving, and a pattern? That was not very, was the purest painter. Already in 1932, we had a gentle friendship. Is it just during this gap, between 1930 and 1932, suffered a very heavy cerebral disease, which is connected with a concussion, or even with what? Then sincer disease, and she finally got rid of her, completely changed All his character. So much that he destroyed most of his early works, too aggravated, expressive, schematic, endured even in museums that he had time to buy. And he became completely different, as it remained for life: shining, light, sunny, full of what? Then the greatest greed to a real living life. Every year, every year more and more deepened friendly relations, and in the end he became from my peers as close to me as Schmarinov. Actually, their two should be called first of all among its most closest friends of my generation. I was a year and a half younger Pimenova and a year and a half older Schmarinov.

With Williams, I also became friends in the early 30s. He then was a painter, and a very strong, good painter. He had excellent work: a portrait of Meyerhold, a portrait of the director Barnet, a big picture "Sailors with Aurora, which was sent to what? Then the exhibition in Venice and there they gave the local communist organization there. There she remained there. But I really have its reproduction. This is a very good thing, I remember her perfectly. But then, he, already by the mid-30s, became interested in the theater, had an extraordinary success, made, for example, the design to the Pickwick Club in Moscow, with unusually bizarre decorations, in which human figures were introduced. And then became the most fashionable artist of the Bolshoi Theater and even started the outfit, like a successful theater figure: some extraordinary fur coat is almost to the ground with a fur from the gate to the Niza himself, a fur hat like a millstone on the head, which was the subject of the greatest bullying of me and Pimenova in Features. He only smiled confused. In general, he entered the theatrical environment, theatrical life.

With Williams, I have one very gentle memories. In the mid-1930s, Natasha and I went to the Caucasus in Tehenekli - this is the place over the Baksan River at the foot of Elbrus. There was a holiday home, belonging to anyone - I do not know, but intended for creative intelligentsia. In any case, the vouchers had to receive in the Moscow Union's Art Foundation, and when I came there, I was told that I had just been Williams and was also going to go there.

There were a lot of friends in Tehenekli. There was our friend with Natasha's a close friend - a scientist - Geographer Lazar Gordovich Gordonov, with whom we, in fact, and we agreed to go there. There was a film director Alexandrov with his wife's love Orlova. There was a poet Nikolai Tikhonov. There was a bored translator - it was assumed that there would be foreigners, but they were not, and she sadly wandered without anything. In one of the evenings, she revived: Finally, the Englishman Mr. Williams finally come! She poured, painted his lips, in general, was prepared. But when this Mr. Williams appeared, it turned out that this is my friend Peter Vladimirovich Williams, who did not know a single word in English at all. His father was, indeed, English origin, in my opinion, what? Then a major agricultural scientist, but he himself did not have any relationship, so the translator was disappointed.

I remember how we went to Elbrus once, not on the most, of course, the top, and on the horizon, it is somewhere on half a blower, already above the clouds - a playground and a small hotel. We climbed through the cloud over a steep path and, get out of this cloud, came there completely wet. The ladies went to the hotel to change clothes, put themselves in order, and I walled with Williams around the court. And suddenly who? Then shouted: "Elbrus opens!" He was all tightened with clouds, and suddenly the clouds were born, and against the background of a completely green sky, a snow white cone of the top of Elbrus arose. Williams rushed into a house behind paper and a pencil - he did not capture anything else with him - and began in the rain, which at this time lied on top, to throw all the contours, recording what paints. I remembered it with the lobs attached to the forehead, convulsively drawing and recording these most paints. But, unfortunately, nothing came out of this: when he showed me an etude in Moscow, made on this sketch, everything turned out to be completely unlike. Yes, and he himself knew it perfectly. I remember that our ladies climbed into Elbrus were completely pickled. The "Phenomenon of Elbrus" was a fleeting spectacle, we were granted to all what two minutes - three minutes.

Williams was a simple, kind, good person, slightly funny with his fashionable theatrical hobbies.

I also had good relations with other coolers - both with Labas, and with Sifrin, but they were not so close. Shifrin was an adorable person, a very good theater artist, a brilliant theater master. Labas was always a little crazy and low-cornered figure. But who, of course, was a completely wonderful person and a wonderful artist, this is a tyshler. But with him acquaintance and friendship belong to the latest times, the post-war. How did it come out that in Leningrad he was not presented, and then I did not have to meet with him. Before the war I was familiar with him, but was published. Only after the war there was a very tender friendship, which was just deepened and improved. He is one of the most adorable creatures I met in my life.

After Ost, it is necessary, of course, to call, if we talk about artistic groups of the 20s, two, which brought me very close friends. First of all, these are "4 arts", in which the Favorsky, and Ulyanov, and Paul Kuznetsov, and Saryan, and still a number of people closest to me. And the second is the society of Moscow artists - "OMX", which brought me one of the most expensive friendship - with Sergey Vasilyevich Gerasimov, as well as with Rodionov, with Ormerkin and others.

I met Sergey Vasilyevich for the first time in Leningrad, he was one of the organizers of the exhibition, was among the brigadiers and saw the paintings of his and close artists. Although he taught in Vhutein a drawing, but with his schedule I met much later and I did not have to buy it for the museum. But in Leningrad we had to come across every day, meet at a common work, and most importantly, we went to dine the company: He, I, Obreyanov and Istomin. It was so often that I very quickly recognized his character, his wit, his jokes and ridicule, which were only defense from other people. Already then I appreciated his amazing character and his wonderful art. Although it was still a very early period, work was only the 20s, the very beginning of the 30s, they were already very good. And then this acquaintance gradually moved into increasing and more intimacy, and in the postwar period it was, of course, one of the most close people me. And I must say with great pleasure that, seemingly, and I was one of the closest people, I used it with a complete power of attorney, performed all his assignments, especially when he became at the head of the Union of Artists of the USSR. Actually, he and before that was perceived as such, by all a recognized, albeit absolutely informal head of Soviet art. But when in 1957, the first All-Union Congress of Artists occurred, it was quite natural that Sergey Vasilyevich was at the head of the Union.

Maybe more external, but very friendly relations I was noted and acquaintance with Osmertkin, one of the main participants of the Bubnovoy Vault, which by the 30s became a very simple lyrical landscape, thin and gentle. And he himself was a wonderful man, attractive, thin. But I met him less often, and it was all? Taki peripheral friendship, and not the main, rooted.

Speaking about the former participants in the group "The Bubnovaya Valet", you need to remember another gentle, miley and attractive person, Alexander Vasilyevich Kurrin. The Kubrin was low, with a small beard, a very silent and shy person, very modestly dressed, without any external effects, occupied by what about their reflections and their work. Ormerkin and Kubrin are perhaps the two most subtle artists in the whole group.

With Cooking, I have, as well as Ormerkin, were the most friendly and, we can say, sincere relationships. Not as with Konchalovsky, to whom I had a deep respect, who favored me, but all? There was a big distance between us.

My relationship with Peter Petrovich Konchalovsky was very friendly, I wrote about him, and he liked how I wrote. But the proximity of the special could not happen, he was very different. It was primarily a barin, a slightly merchant style, who lived on a wide leg, an unusually temperamental, with a huge artistic "economy". Once, when I was in his workshop, he said: "I already have a thousand eight hundred numbers." This only applied to his paintings; Watercolors and drawings, he did not even think. In any case, we had a friendly relationship, which was then greatly cooled by the grace of his daughter and the son-in-law - Natalia Petrovna Konchalovskaya, poetess, and her spouse Mikhalkov. But Peter Petrovich was nothing to do with it, just as he was at least to some extent and to the Barskaya snobbish of his house - he was imposed on his spouse, a lady with a difficult character, which, being a daughter Surikova, understood a lot about himself and extremely The dignity of Konchalovsky. When I wrote an article, at his request, for his last lifetime exhibition in 1956, then a confusion turned with this article. I gave her to read Peter Petrovich. He's warmly approved her, he really liked her. And then Nikolai Georgievich Mashkovtsev came to me, the old historian of the arts and the museum worker who worked at this time at the Academy of Arts and the former member - the correspondent of this academy, with a confused appearance, that now? De Olga Vasilyevna put "veto" to my article, Because I'm Konchalovsky there for some things critique. Peter Petrovich did not pay attention to this, and his wife did not allow this criticism to print. I said that I will take it back, I will not give it to the catalog, how did you like in a defective form. When after that I met with Peter Petrovich, he walked his head, regretted how bad it turned out. But I reassured him, comforted, said that I had already given it to the magazine "Art" and it will be printed in this form, in what I wrote it. But during this exhibition died, so I did not see my article printed. And she turned out to be so successful that her without my knowledge was reprinted, in particular, in the huge Tome of "Art Heritage Konchalovsky" and even placed, not asking me as an introductory article. Obviously, she answered her destination. But all? So, these relationships were not close, although good, friendly.

Favorsky told me a funny episode associated with his work on the design of the poem of Peter Petrovich's daughter, Natalia Petrovna Konchalovskaya, "Our ancient capital." He had to go to Konchalovsky's house for quite a long time: "Our ancient capital" consisted of entire three books, he had to make many illustrations. Natalia Petrovna in his verses often just referred to him: the artist will show you everything else.

While they worked with Natalia Petrovnoy, Peter Petrovich entered the room, looked at the laid out of the sheets and said: "I never thought that from my fool - Nataski would turn out that? Something feet."

Since then, she remained "foolish - Natashka" in our house. This name was wound firmly and hopeless. As for Mikhalkov, the conversation will be in his turn about him when it comes to the child, where he first appeared and where in my eyes he increased and developed as a successful official poet of the cult of personality.

Other "Bubnovoletti" were very different. Lentulov - it was a remote personality; So it was possible to imagine how he flies on a likhache - an excrement in perfect haul budget ruddled up to the morning in what? vs "Yar". Maybe it was a showful, but he led himself - the soul of a lap, a wide nature. Essentially, he was very serious and a real master, although he began to see how it could be seen at the exhibition "Moscow - Paris" with very violent things, where Cubism in half and with futurism, and with the heritage of Russian painting of the XIX century. And everything in extremely violent form on huge canvas. In fact, with all this he was a very subtle artist. Lentulov was very friendly with Pimenov, and, in fact, my relationship with him was mostly through Pimenov. Man he was pleasant, good.

With Mashkov, my good relationship did not work out. He was very talented. But from the first meeting with him I began to divide how the Lord could put the talent in such a hundred stroker, in such a hopelessly stupid man. It affected extremely clearly when he tried to draw human figures. He entered Ahr and painted which pioneers with ties on the Black Sea shore - it was something completely impossible, having slightly dodged, the vulgar and stupid species. And still lifes, however, he wrote great all his life. I could not work with him with him. And when I donate in one of my articles, his main "portrait of a partisan", where the partisans with drakel, with rifles, with cartridges and machine-gun ribbons were depicted around a magnificent, big, luxuriously written ficus, as if on the chest photograph of the provincial photographer - as if they were They laid their faces into the holes of the finished back, - Mashkov, of course, was completely sulfted and our relationship was completely stopped.

I did not have a relationship with one more former "Bubnovotets", Falc. But I will tell about him later when it comes to the war years - only then I met him, in evacuation, in Samarkand. It was a very unpleasant meeting, and I treat him quite cool - and to his art and, in particular, to his own person. Very smug, very arrogant, fellow and extremely unfavorable man in relation to people.

As for society "4 arts", I found good friends there. This is not only Favorsky, but after him and Ulyanov. I first met with Nikolai Pavlovich Ulyanov, when I arranged the graphics exhibition already in Moscow. There was his stand, on which the very good drawings were chosen, mostly portraits. I remember there was a portrait of Mashkovtseva, a portrait of Epros. Since then, we have become set up increasingly close relationships that have passed in the end in a very important friendship for me. I constantly walked to him, he wrote to me letters, although we both lived in Moscow. And in Samarkand, where both we were in evacuation, I saw him almost every day. His at the beginning of the war was sent to Nalchik, then in Tbilisi, together with a whole group of eminent writers, artists, artists. (Together, by the way, with Alexander Borisovich Goldenveyor.) In the autumn of 1942, they were all transported to Central Asia, but most of them drove to Tashkent, and he remained in Samarkand.

I am every day, coming to the register, where the Moscow Art Institute was located, came to consult him, because his life in Samarkand was very heavy. He was given a completely ugly, uncomfortable, dilapidated Khuchra in the yard of Shir - Dora, without any furniture. And he brought the dying wife from the Caucasus, lying without movement. She died there in Samarkand.

Nikolai Pavlovich Ulyanov, and after his death, his second wife Vera Evgenievna gave my father a lot of first-class Ulyanovsk works: Portrait of Vyacheslav Ivanova, Watercolor "Didro in Catherine", one of his best Pushkin drawings, - Sketches of costumes to "Molver" and a number of others. We and rare work is stored - the landscape of his deceased in Samarkand of the first wife of the artist Glagoleva. With one big thing Ulyanov "Model and Horse Silele" is associated with a whole story. This item of young Ulyanov wrote into benimizing his assistant Serov at the school of painting, sculptures and architecture, - it was a training "production", which serov suggested to his students. Returning from evacuation to Moscow, Ulyanov found that this removed canvas removed from the subframe of the neighbors used, having won their potato storage basket. The picture was a black cracked com, on which it could hardly be that? Then distinguish. Ulyanov gave him his father, sorely saying: if you can save, leave yourself. Father gave the canvas with a wonderful restorer GM II Stepan Churakov, and he saved? So work! Duplicated on a new canvas, extinct - traces of restoration is almost not visible, and the "model and horse is strong", shining with all its true "serovskaya" painting, now the constellation hangs over the father's sofa in his office.

From the same group of "4 arts", there were other people close to me, such as Vera Ignatievna Mukhin, a wonderful sculptor and a man of wonderful, extraordinary strength, power and energy, absolute independence, with an unusually large sincere world and a great sincere-mind. It was poured into the grand monumental plastic, and in lyrical things - the famous group, made for the exhibition in Paris in 1937, was accompanied by such works as "bread", one of the most poetic and gentle sculptures, which in general in Soviet art. She was and wonderful portrait.

From the same society, actually, was Sarah Dmitrievna Lebedev, when? Then the former wife of Vladimir Vasilyevich Lebedev, one of the most subtle sculptors, what we had, and the adorable person, very restrained, very silent, very calm and with what? Then A striking, aggravated sense of character and movement in their art. Whatever it makes, whether it is a big statue of "Girl with a Butterfly", one of her best works, whether portraits, such as, for example, a portrait in full growth, albeit a miniature size, Tatlin, with its cooked legs , long horsepie physiognomy - it was unusually significant and rare talented. Meeting with Sarah Lebedeva and good relationship with her is also one of the very expensive memories for me.

Very good relationship, although the proximity of a special mental has never happened, I have formed with Pavel Bartholomeyevich Kuznetsov, a person is very complacent, a little inhabit. However, maybe it was a form of behavior for which it was hiding what? Then more. Pokreyanov him, however, called not very good words: "A seal who is trying to pretend to be lion." Perhaps this corresponded to its character.

He was very simple, and was manifested in a variety of forms. For example, one day to the hall, where I saw engravings and the etchings of Nivinsky, Kravchenko and the ethambi of other graphs, suddenly is the Kuznetsov, the dragging canvas of one of his students - amorphous, loose, completely picturesque. And when I say in surprise: "Well, where am I Him Denu?", Pavel Varfolomeevich replies: "But this is a perfect schedule!" Nothing less similar to the schedule could not come up with. He was very careful about his disciples. This canvas was, by the way, Davidovich, who died in the militia during the war. But I was almost not familiar with him.

While working in Leningrad, we had to dine from Pavl Barfolomeyevich, sometimes in the Russian museum. They fed there disgusting, but nothing could be done - it was not always possible to retire to the hotel "European" or to the house of scientists. I remember, just we sat with Pavel Bartholomeyevich, and he from the soup, which he filed, pulled out a long fishe tail. He called on a waitress and asked her very calmly: "What did you file, ear or soup"? She said: "soup". Then he showed her a fishe tail, to her great embarrassment. I really liked his serious interest in finding out what, in fact, filed him.

It was very pleasant for me. Our meeting with Him in Gurzuf in the early 50s, when he started writing my portrait. He suggested me several times in Moscow several times, but in Moscow I had no time to pose, and in Gurzuf I could not have to refuse any predictions. He sat up at the top of the Korovinsky cottage on the background of the sea and wrote a huge bright red head, similar to the grand sizes of the tomato against the background of a dazzling blue sea. He wrote this portrait with great pleasure, and I am terribly regretting what he is where? Then he threw. I recently, however, I was told that after the death of Kuznetsov and his wife (they had no children) everything that remained in the workshop, went to Saratov, to the Radishvsky Museum. It may very much that my portrait got there. Similarities There, perhaps, it was not too much, but the memory itself is just pleasant. I also see him, as he sits and with great pleasure writes this most contrast of bright-color with bright blue. But, the truth is to say, it was difficult to sit, because his wife Bebutov, also an artist, decided to entertain me to entertain scientists. Conversations, with all its attempts on the scholarship, there were such that I barely kept barely from laughter. She, too, was a person in good and innocent.

With Kuznetsov, a close friendship could hardly work out - we really were different people. But I remember him with great respect. And the artist he is very good, which showed his recent exhibition together with Matveyev.

But Matveyev, acquaintance with him, which passed into very good relations, was one of my most important "achievements." The man he was very stern, very silent, very discreet, closed, slowly and little worked, who drove his work for many years. After him, there are not so many things at all, but they are wonderful.

At about this time, no later than the mid-30s, I met Saryan. This is one of the very important events in my artistic biography. When and where I met him, I do not remember at all, because in the museum he did not come to me, because no graphics did not do, and in the exhibitions that I arranged, did not participate. And in Leningrad in 1932 he himself was not. There was his wall, rather random in its composition, generally not responding to its level and meaning, although beautiful. But compared to the three other, the brilliant walls of the same hall - Petrova - Vodkina, Shevchenko and Kuznetsov, he looked more modest, although in the results of his creative path exceeded all three on many heads. I wrote about him very laudatory, just an enthusiastic article in 1936, already knowing him, and this article marked the beginning of a solid friendship, which was preserved until the end of Saryan's life. By the way, this article in the "literary newspaper" of 1936 caused a very large displeasure of Kemmen, who then, too, as I, hung in the "literary newspaper" as criticism. We were printed with him almost in turn, standing on diametrically opposite positions and very not approve of each other.

After the war, I often saw Saryan - whenever he was in Moscow. I wrote about it several times later, already in the 60s and later. Saryan is nothing to describe - everyone knows him, but I always amazed what kind of childhood of this man, his open, innocent admiration for the beauty of the real world, his infinite good-natured attitude towards people, although he was superbly versed, who refers to him. In 1952, Boris Weimarn acted on the discussion of the anniversary exhibition with unusually destroyed tirades, very indignant to the unprincipled jury, which took the horrible paintings by Saryan to the exhibition. Then, in five years, in just five, these very pictures were delivered to Saryan Leninsky Prize, so Waymorn earned only the fact that Saryan was not expressed to the end of his days otherwise, like "This Merzavets Weimarn". And this is with all his kindness and sunshine, which was not only in the painting of Saryan, but in all his behavior, in his entire appearance - the personification of the Sun, and the sun of Armenia. This is a very special sun. One of the most beautiful countries, which is on Earth, - Armenia. I learned it in the postwar years when it was there twice.

I remember well how my father and I were at Saryan in his workshop in Yerevan on Saryan Street, as he showed us his work - and early, and very recently made very tragic and strong machine drawings. From the heat of the Father, the strongest nasal bleeding began, "Saryan was terribly worn out, laid his father on the couch, cared for him with touching care. He was already very old and although it was still bright, very sad, - Shortly before, in a car accident, his son died .

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Artists Irina Grasca, artist (Estonia) "This portrait placed on the cover of the record" Reproduction of the paintings of Irina Faces from the record of Anna Hermann, 1977 The wiring of the work of this Tallinn artist know many: he decorates the cover of one of the most famous records

In the 20s A number of artistic directions retained continuity with the art of Russian

modern and avant-garde - largely due to the fact that the masters of the beginning of the century continued to work. On the other hand, the functions of art in society have become more diverse. There were new types of artistic activities: cinema, advertising, design.

Active disputes conducted "Stankovists" (supporters of machine forms of art) and "Production", or constructivists, whose activities were aimed at improving the objective environment. The beginning of the constructivist movement is associated with the Moscow society of young artists (obamuh), which was organized in 1919. Konstantin (Kazimir Konstantinovich) Medusesky (1899-1935) and Brothers Stenbergi - Vladimir Augustusich (1899-1982) and Georgy Augustovich (1900-1933). At the exhibitions, artists demonstrated mainly three-dimensional designs - in space and on the plane. If in the suprematic compositions of Kazimir Malevich, the most value was the most picturesque feeling, then the works of obamuchi belonged to the area of \u200b\u200bdesign. They were easily applied in the design of the performance or book, in the poster and when photography.

El Lisitsky (Real Name Lazar Markovich Lisitsky, 1890-1941) called his works "Poduna" - "Projects approval of the new". According to the author, they represented a "transplant station from painting to architecture." Alexander Mikhailovich Rodchenko (1891 -1956) "Designed" books created advertising posters, designed furniture and clothes, engaged in photography.

To prepare artists - engineers and designers capable of designing industrial products, in 1920, the highest artistic workshops (Vhutemas) were created in Moscow. The workshops united several faculties: architectural, graphic (printing and printed graphics), metal processing, wood, scenic, ceramic, sculptural and textile. For the first two years, students had to comprehend the laws of formation common to art, and then specialization was assumed at any faculty.

In 1926, Moscow Vhutemas was transformed into Vhutein - the Supreme Art and Technical Institute. (Since 1922, Vhutein already existed in Leningrad instead of the Academy of Arts.) In 1930, Vhutein was closed, his faculties became separate institutions - printing, textile, etc.

As for painting, already in the 20s. Critics celebrated her "turn to the realism." Under realism, they meant primarily interest in the pictoriality (as opposed to abstraction), to a classic picturesque tradition. Appeal to the classics can be explained by the requirements of the ideology: the art of the Soviet state was called upon to use the best achievements of world culture. It determined the search for clear and clear forms of "big style".

The Association of Artists of Revolutionary Russia (AHRR), founded in 1922 (since 1928 - the Association of Artists of the Revolution, AHR), partly accepted the baton at the Movie. The very partnership of mobile art exhibitions ceased a year later, and many Movies - among them, in particular, were Abram Efremovich Arkpov, Nikolai Alekseevich Kasatkin - became members of Ahrra. At different times, Sergei Vasilyevich Malyutin (1859-1937), Alexander Mikhailovich Gerasimov (1881 - 1963), Boris Vladimirovich Johanson (1893-1973), Mitrofan Borisovich Greek (1882-1934), Isaac, Israelich Brodsky (1883-1939) And other artists.

These masters united the overall ideological orientation. They insisted on the creation of art narrative, genre, which would be clear to the people and truthfully reflected reality. The Association published the magazine "Art in Massay" and led active exhibition activities.

The names of the exhibitions are talking about the theme of the works of artists of Ahrra: "Life and life of workers" (1922), "Red Army" (1923), "Revolution, life and work" (1925), etc. His creativity They defined the concepts of "artistic documentary" and "heroic realism", considering painting as a historical evidence as the chronicle of the era.

In this spirit, Grekov's canvas on the topics of the civil war, the paintings "Vladimir Ilyich Lenin in Smolny" (1930) of Brodsky, "Portrait of D. A. Furmanova" (1922) Malyutina. The Association existed until 1932.

In 1925, graduates of the workshop of David Petrovich Sterönberg (1881 - 1948) in VhuTemas formed the Society of Stankovists (OST). They united as supporters of machine art - as opposed to "Production". Nevertheless, the work of the coolests can not be considered with machines in the strict sense of the word. The members of Ost were engaged in monumental painting, and a poster, decorated books, theatrical productions.

Alexander Aleksandrovich Daenek (1899-1969) initially worked as a coffee schedule, V. A. Favorsky was held, and later managed to "distribute" the principles of design of a book (journal) page for the design of the wall. In the monumental-decorative paintings of 1928. "At the construction site of new workshops" and "defense of Petrograd", the artist distributes, "mounts" light and dark spots, they seem to be cut and paste on each other. The White Background of the Defense of Petrograd in the Hall of the State Tretyakov Gallery merges with the wall, goes to her, and only the "metal" backbone remains.

The composition of Yuri Ivanovich Pimenova (1903-1977) "Let's give a heavy industry!" (1927) exists in two versions - a picture and poster, and in the latter case it is most organic.

Artists remain participated in international exhibitions, including those held in Germany. The influence of German art - expressionism and "new substance" - the graphic and picturesque works of Alexander Grigorievich Tyshler (1898-1980), Alexander Arkadyevich Labasa (1900-1983) and other artists.

In 1931, the Society of Stankovists split into two associations - the Ost and "Isorbard", and in 1932 they stopped their existence.

In the 20-30s. Graphics have become increasingly important: book illustration, drawing, engraving - art designed for replication, affordable masses directly facing man. Outstanding artists-illustrators Alexey Ilyich

Kravchenko (1889-1940) and Vladimir Andreevich Favorsky (1886-1964) worked mainly in the technique of xylography - engravings on the tree. Favorsky was a teacher of Vhutemas-Vhutein, and since 1930 - Moscow Printing Institute. He sought to synthetic design of the book, when all the art elements are plot illustrations, screensavers and fonts - make up a single figurative-stylistic ensemble. Illustrating the children's book dedicated to their creativity Vladimir Mikhailovich Konashevich (1888-1963) and Vladimir Vasilyevich Lebedev (1891 - 1967). In 1932, a decree was published on disbanding all artistic groups and the creation of a single union of artists of the USSR. Now only the state could make orders, arrange large-scale thematic exhibitions dedicated to the Socialism Industry; It sent artists to write all-Union construction and portraits of drummers of production.

Critics and researchers consider the art of the 30s. As a period of neoclassic. Classic argued, it was actively used. Hobbating the art samples of past times flourished, while independent study of nature moved to the background.

The most famous masters of socialist realism of the 30s. Former Akhrovtsy A. M. Gerasimov and B. V. Johanson. Gerasimov in their parade portraits of 1938 "I. V. Stalin and K. E. Voroshilov in the Kremlin, "" Portrait of a ballerina O. V. Lepheshinsky "reaches almost a photographic effect. Johanson's work "Interrogation of the Communists" (1933) and "at the Old Ural Plant" (1937) continue the tradition of the Mobile. The artist sometimes "quotes" them in some pictures.

"For yourself", that is, not many artists worked outside the rules of socialist realism. Among them, Alexander Davydovich Tree (Trevets, 1889-1938) and Mikhail Xenofontovich Sokolov (1885-1947), which in intimate, chamber works limited themselves with a certain circle of fine topics. Both masters during the years of Stalin's terror were repressed.

By the beginning of the 40s. Pressure on artists from the authority intensified. The Museum of New Western Art was closed, where the works of impressionists were exhibited - the fields of Cesanna, Henri Matisse, other masters of the second half of the XIX - early XX century.

During the Great Patriotic War 1941 - 1945. Massly replicable graphics received the greatest development, and above all poster.

S. Gerasimov "Collective farm holiday"

Getting acquainted with the works of Soviet Fine Arts, immediately notice that it is very different from the previous period in the history of art. This difference is that all Soviet art permeated with the Soviet ideology and was intended to be a guide of all ideas and solutions of the Soviet state and the Communist Party, as the leadership for the Soviet Society. If in the art of the 19th - early 20th century, artists were seriously criticized by existing validity, then in the Soviet period such works were unacceptable. The red thread through all Soviet art was attached by Paphos to the construction of a socialist state. Now, 25 years after the collapse of the USSR, the interest from the audience is elevated to Soviet art, especially it becomes interesting for young people. Yes, and more older generation a lot rethinks in the past history of our country and is also interested in seemingly very familiar works of Soviet painting, sculptures, architecture.

The art of the period of the October Revolution, Civil War and the 20s - 30s.

In the first years after the revolution and during the civil war, a huge role was played battle political poster. The classics of the art of a poster are considered to be D.S. Motor and V.N.Deni. Moore's poster "Did you sign up in volunteers?" And now conquers expressiveness of the image.

In addition to the printed poster during the civil war, posters arose, hand drawn and breeding with a stencil. This is the "windows of growth," where the poet V. Mayakovsky accepted the active participation.

During the civil war, a monumental propaganda plan, compiled by V.I. Lenin, was working, the meaning of which was built in the entire country of monuments to famous people who could somehow contribute to the preparation and accomplishment of the socialist revolution. Performers of this program include primarily Sculptors N.A. Andreev I.D. Shadr.

In the 20s, an association was formed, who played a significant role in building a new Soviet society -rosia "(AHRR)" Association of Artists of Revolutionary Russia (AHRR).

In the 1930s, the Unified Union of Artists of the USSR was created, uniting all artists who in their work should have followed the method of socialist realism. Artists of the older generation (B. Kustodiev, K.Juon, etc.) and younger sought to reflect the new in Soviet reality.

In creativity I.I. Brodsky reflected the historical and revolutionary topic. The same topic in the works of M.Grekova and K. Petrov-Vodkina wears an elevated-romantic nature.

At the same years, the beginning of the epic "Leninian", which created the number of works dedicated to V.I. Lenin countlessly in the Soviet period.

The genre (masters of the household genre) and portraitists of the 20s of the 20s should first be called M. Enesterov, P. Konchalovsky, S.Gerasimov, A.Dazhsky, Y. Pimenova, Mazhsky and other artists.

In the area of \u200b\u200bthe landscape, artists, as K.Juon, A. Rylov, V. Baksheev, and others worked.

After the revolution and the Civil War, the stormy construction of cities, in which many monuments were created by prominent figures of revolution, party and state. The famous sculptors were A. Matsev, M. Manizer, N.Tomsky, S. Lebedeva and others.

Soviet Fine Arts 1941 -1945 and first post-war years

During the Great Patriotic War, Soviet art resolutely denied the saying that "when the guns, the muses are silent." No, in the period of the most cruel and terrible wars in the history of mankind, the muses were not silent. Immediately, after a treacherous attack of the German fascists to the Soviet Union, a pencil and a cutter of artists became a formidable weapon in the fight against the enemy.

The heroic lifting of the people, his moral unity was the basis on which the Soviet art of the Time War II rose. He was permeated by the ideas of patriotism. These ideas were inspired by plastic artists, inspired painters to create paintings telling about the exploits of Soviet people, determined the content of works in all kinds of art.

A huge role at this time, as in the years of the Civil War, played a political poster, where artists worked as V.S.Ivanov, V.B. Korotsky and others. Their works are inherent in the angry pathos, in the images, they created, revealed an inflexible will of people, breasted by the defense of the fatherland.

Genuine revival is experiencing a hand-drawn poster. According to the example of "growth winds" in 1941-1945, numerous sheets of "TASS windows" were created. They ridiculated the invaders, exposed the true essence of fascism, called the people to protect their homeland. Among the artists working in the "TASS windows", first of all, the Kukryniks (Kupriyanov, Wings, Sokolov) should be called.

Convincingly talk about the experiences of Soviet people during the war years of the Graphic series of this time. Cardiac pain marked the magnificent series of drawings D.A.Shmarinov "Will not forget, I will not forgive!" The gravity of the life of a blockade Leningrad was captured in the cycle of the drawings A.F. Pakhomov "Leningrad in the days of the blockade."

It was difficult to work in the years of war painters: because it takes time and related conditions for the creation of a complete picture. Nevertheless, then a lot of cloths appeared in the Golden Foundation of Soviet Art. About the difficult weekdays of war, the painters of the Studios of Military Artists named after AB Grekova tell us about the warriors of warriors. They traveled on the fronts, took part in hostilities.

Military artists captured on their canvases all that they themselves saw and survived. Among them, P.A. Krivonogov, author of the painting "Victory", B.M.Nensensky and his picture "Mother", a peasant woman who entered his own soldiers, who survived a lot of Godin to the Motherland.

The canvas of a large artistic value created in these years A.A. Didinek, A.A. Plastov, Kukryniksi. Their paintings devoted to the heroic feats of Soviet people of Soviet people at the front and in the rear are imbued with sincere excitement. Artists approve the moral superiority of the Soviet people over the gross force of fascism. This manifests the humanism of the people, his faith in the ideals of justice and good. The courage of Russian people speak the historical canvases created during the war, including such as the cycle of paintings by E.E. Anlanser "Trophy of the Russian weapon" (1942), Triptych P.D.Kurina "Alexander Nevsky", canvas A.P . Babnova "Morning in the Kulik Field."

Military pore people told us a lot and portrait painting. This genre has created a lot of works marked by outstanding artistic advantages.

The portrait gallery of the period of the Patriotic War was replenished with many sculptural works. People of inflexible will, courageous characters marked with bright individual differences are presented in the sculptural portraits of S.D. Lebedeva, N.V.Tomsky, V.I.Mukhina, V.E.Vuchtech.

During the years of the Patriotic War, Soviet art with honor fulfilled its patriotic debt. Artists came to the victory, passing through deep experiences, which allowed the first postwar years to create works with complex and multifaceted content.

In the second half of the 40s - 50s, art is enriched with new topics and images. Its main tasks during this period - the reflection of the success of post-war construction, the upbringing of morality, communist ideals.

The color of art in the postwar years, the activities of the Academy of Arts of the USSR are considerably, which includes the most significant masters.

The art of post-war years is characterized by other features that primarily concern its content. In these years, the interest of artists to the inner world of man is increasing. Hence the attention that the painters, sculptors, graphics portrait and genre compositions, allowing people in a wide variety of life situations and show the originality of their characters and experiences. Hence the special humanity and heat of many works dedicated to the life and life of Soviet people.

Naturally, at this time, artists continue to excite the events of the recent war. Again and again they turn to the feats of the people, to the grave experiences of Soviet people in the harsh godine. Known such canvases of those years as "Masha B. Nemensky," Letter from the front "A.Lactionov," Rest after the fight "of Y.Nenensky , "Return" V. Kostetsky and many others.

The canvas of these artists are interesting in that the topic of war is solved in them in the household genre: they draw scenes from the life of Soviet people in war and in the rear, talk about their suffering, courage, heroism.

It is noteworthy that the paintings of historical content are also often solved during this period in the domestic genre. Gradually, the peaceful life of the Soviet people, who came to replace the hard tests of the military years, finds an increasingly complete and mature embodiment in the work of many artists. A large number of genre paintings are paired (i.e. by the domestic genre), affecting the variety of topics and plots. This is a life of the Soviet family, with its simple joys and grievances ("Again, Two!" F. Odesshatnikova), it's hot work at factories and factories, in collective farms and state farms ("Bread" T. Yaslikova, "on civilians" ). This is the life of Soviet youth, mastering virgin and so on. Especially important contribution to the genre painting was made during this period artists A. Plastov, S. Chuikov, Tsalakhov and others.

Successfully continued to develop in these years portrait painting - this is P.Korin, V. Effan and other artists. In the field of landscape painting during this period, in addition to the oldest artists, including M. Saryan, R.Nysky, N.romadin and others worked.

In subsequent years, the visual arts of the Soviet period continued to develop in the same direction.

D. S. MOOR

D. S. MOOR

K.Petrov-Vodkin "1918 in Petrograd" (1920)

I. D. Shadd "Cobblestone-weapon of the proletariat"

Gerasimov - Collective farm holiday 1937

S. Gerasimov "Mother Partisan"

D. S. MOOR

P. Konchalovsky "Lilac in a basket" (1933)

N. A. Andreev "V.I. Lenin"

M. Greek "Znamenchman and Trubach" (1934)

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Ministry of Education of the Russian Federation

Magnitogorsk State University

Test

Artists of the 20-30s

Performed: Timeeva Alena

Magnitogorsk 2001.

Introduction

October 1917 opened a new era not only in social life, but also in the life of art. Any revolution destroys something, and then the creation of a new one begins. There is no simple development, but a decisive re-equipment of the foundations of the former social, political, ideological and other kinds of structures, including art.

The revolution put forward at least two problems. The first problem is classiness of art. Attempting closely to lingering him with a class struggle led to distorting his multifunctional nature. Especially acutely simplified understanding of the classiness of art manifested itself in the activities of an unsolicited probe. The element of the struggle led to the destruction of cultural monuments caused not only by military actions during the civil war and foreign intervention, but also a policy aimed at crushing bourgeois culture. So, many sculptural monuments were demolished or destroyed, works of ancient architecture associated with religious cult.

The second problem is the problem of class politics in art. In solving it, all forces were involved: "bourgeois" and "proletarian", destructive and creative, Soviet and non-monetary, "left" and "right", cultural and ignorant, professional and amateur.

The principles of social development proclaimed by the state largely determined the phased movement of art. There was a kind of layering of forces, from the addition of which the vector of the real state of art was formed. On the one hand, this is the power of self-development, where the patterns of the movement of forms concluded in the nature of artistic creativity affected; On the other hand, the influence of social forces, public institutions interested in, and not in any other movement of art, in its defined forms. With the third - dictate of the state policy, which, relying on social forces or without relying on them, had an unconditional impact on the structure of art, on its essence, on its evolutionary and revolutionary potency. Since the late 1920s, the policy has explicitly become distorting the normal process of art development, to provide a certain pressure on it by prohibiting or condemning those or other "non-fertile" manifestations.

Artists and artistic associations of the 20s.

The 20s were a rapid time for art. There were many different groups. Each of them put forward the platform, each performed with his manifesto. Art, obsessed search idea, was diverse; It boiled and boiled, trying to keep up with the era and look into the future.

The most significant groups, in declarations and in the creative practice of which the main creative processes of the time were reflected, were Agrh, OST and "4 arts" (8, p. 87).

The AHRR Group (the Association of Artists of Revolutionary Russia) originated in 1922 (in 1928 he was renamed AHR - the Association of Artists of the Revolution). The AHRR kernel has developed mainly from the former participants in the mobile exhibition partnership. The AHRR Declaration was set forth in the Catalog of the exhibition 1922: "Our Civic Duty to Humanity is the artistic and documentary capturing the greatest moment of history in his revolutionary rush. We will show today: life of the Red Army, the life of workers, the peasantry, leaders of the revolution and the heroes of labor" .

Artists Agrhr sought to make their painting an accessible mass viewer of the pore. In his work, they often mechanically used the long-witting language of late movement. Agrh organized a number of thematic art exhibitions, whose names themselves: "Life and Life of Workers" (1922), "Life and Genet of the Red Army" (1923), "Revolution, life and Labor" (1924 - 1925), "Life and life of peoples USSR "(1926) - Talk about the tasks of direct mapping of modern reality.

The peculiarity of the practice of "Akhrovtsev" was that they were in factory and factories, in the Red Army barracks, to observe the life and life of their heroes there. During the preparation of the exhibition "Life and Life of the Peoples of the USSR", its participants visited the most remote corners of the Soviet country and brought from there a significant number of sketches, the basis for their works. Artists of AHRR played a big role in the development of new topics, having an impact on representatives of different art groups of that time.

Creativity is allocated among the artists AHRR I.I.Brodsky (1883 - 1939), which set its task accurate, documentary reproduction of events and heroes of the revolution. A wide fame acquired its web devoted to the activities of V.I. Lenin. The basis of the picturesque Leninians is based on the painting "Lenin's performance on Putilovsky Plant", and one of the most famous works "Lenin in Smolny" (1930), depicting Lenin in his office at work. Brodsky saw Lenin many times and made sketches from him (12, p. 92).

The works of Brodsky have an important quality - reliability having a big historically informative meaning. However, the desire for documentary led to the empirical, naturalistic interpretation of the event. The artistic importance of Brodsky's paintings also reduced dry naturalism, a dietary flavor, which is peculiar to a significant part of its works.

Picture Master G.G.Ryazhsky (1895 - 1952) His works of "delegate" (1927) and "Chairman" (1928) (1927) and "Chairman" (1928) (1928) and "Chairman" (1928), in 1923, joined AHRR (1928), in which the artist identifies the typical social and psychological features of a new society. . His "Chairman" is an activist worker. In her position, the gesture detects a feeling of self-esteem, discharge as evidence of the situation of a woman in a new labor society.

Among Portreets Agrh, a prominent role was played S.V.Malyutin (1859 - 1937). Straught to them before the revolution, the portrait gallery was supplemented in Soviet times by Portrait V.K. Bialynitsky-Biruli, A.V. Lunacharsky and many others. Among them, the portrait of Dmitry Furmanov, which was written in 1922, convincingly revealing the image of a warrior writer, a representative of the new, Soviet intelligentsia.

The active participant of the AHRR exhibitions was a large Russian painter of the turn of the XIX - XX centuries. A.E. Archups. In the 20s of the archups creates images of peasants - "Woman with a jug", "the peasant in the green apron", "the peasant with a pink handkerchief in his hand" and others. These pictures are written in a wide brush, temperamentally and colorfully.

The creativity of E.M. is marked with close observation and attention to new phenomena of life. Cheptsova (1874 - 1943), which continued his movement traditions in the field of the household genre. His picture of the "meeting of the agral" (1924), which depicts the village activists of the first years of revolution are depicted. The observation and sincerity of the author, the simplicity of the appearance of his heroes, the idleness of the surrounding accessories made a small, modest painting by the work of Chepzov one of the most interesting samples of the AHRR art.

The same can be said about one of the works of the landscape system B.N. Yakovleva (1880 - 1972). His "Transport is established" (1923) - modest and at the same time a deep narrative of the difficult era of the revolution, about the daily work of people. Quiet and just written, this picture is one of the first examples of an industrial landscape in Soviet painting.

Special place in painting AHRR occupies creativity M.B. Grekova (1882-1934) is the founder of the battle genre in Soviet art. For a period of a year and a half - until the end of life - he was engaged in creating a cycle of paintings dedicated to the first equestrian army, in hikes and battles of which the artist took part. In his work, especially in the early period, it is clear to know the traditions of Vereshchagin. The main hero of Grekova is the people who assumed all the difficulties of war. The works of Grekova live affairs. In such pictures of the mid-20s, as the "Tacanka" (1925), the movement accuracy of the image is combined with romantic risenness. Later, continuing the peculiar picturesque chronicle of the first equestrian army, the Greeks creates an epic web, among which paintings "for Kuban" and "Trumpeters of the first equestrian army" are distinguished (both - 1934).

Along with AHRR, in which the artists of the older and middle generation, who had the time of revolution, have already been greatly creative experience, the Group Ost (Society of Stankovists), organized in 1925 played an active role in the artistic life of those years, organized in 1925. She united the artistic youth of the first Soviet artistic university - Vhu-Tepes. (3)

The main task of uniting artists Ost, like "Akhrovtsy," considered the struggle for the revival and the further development of the machine painting on a modern topic or with modern content. However, creative aspirations and methods of artists remaining characteristic differences. They sought to reflect in separate facts new qualities of the modern epoch in relation to the era of the previous one. The main theme of Russia, the industrialization of Russia, recently still agrarian and backward, the desire to show the dynamics of the relationship between modern production and man.

One of the most talented representatives of the OST group was A.A.Daineka. The closest declarations are the OST are its paintings: "At the construction site of new workshops" (1925), "Before descending to the mine" (1924), "Football players" (1924), "Textiles" (1926). Daineki's shaped pathos found an exit in a journalistic chart, in which the artist performed as an illustrator in magazines for wide reading - such as "at the machine", "a bootiness at the machine", "spotlight", "Youth" and other central works Deileki of the Oskesky period became the painting "Defense of Petrograd", written in 1928 for the thematic exhibition "10 years of RKKKA". This work reveals the main pathos and the meaning of the innovative traditions of the Ost of the most life-giving and those who have found their development in the Soviet art of subsequent periods. Daeken embodied in this picture all the peculiarity of his style, minimized the means of expressiveness, but made them very active and effective (8, p. 94).

From among the remaining members, the remaining close to Deinek in the nature of their works on style signs Yu.I. Pimenov, P.V. Williams, S.A. Luchishkin. Created in the same period of the work of the "Heavy Industry" Pimenova, "Hamburg Uprising" Williams, "The Ball flew" and "I love life" Luchishkina revealed and innovative reflected important qualities of modern reality,

In contrast to the coolest, youth, in its composition, the group of two others, which occupied an important place in the artistic life of those years creative groups - "4 arts" and OMX. (Society of Moscow artists), - united in themselves the masters of the older generation, who were creatively developed in a pre-revolutionary time, with a special appearance relate to the problems of preserving pictorial culture and considered a very important part of the work his language itself, plastic form. Society "4 art" originated in 1925 by the most prominent members of this grouping were P.V. Kuznetsov, K.S. Petrov-Vodkin, M.S. Sarian, N.P. Ulyanov, K.N. Istomin, V.A. Favorsky.

The works of Petrov-Vodkina are such as "after the fight" (1923), "The window of the window" (1928), "Anxiety" (1934), the most fully expressed the ethical meaning of various periods - milestones in the development of the Soviet society. His picture "Death of the Commissioner" (1928), like the "defense of Petrograd" Deneki, written in connection with the exhibition "10 years of the Red Army", as opposed to specific publicism - the basis of Deineki decisions - gives its philosophical solution to the task: through the facts generalizing The ideas about the events taking place on the entire planet Earth through the identification of the ethical essence of these events. The Commissioner is a person, and in life, and in the death of his own feud in the name of mankind. His image is an expression of the harassment of light ideas that will win in the future, independently and contrary to the death of the most active carriers of these ideas. A farewell view of the dying commissioner as a farewell to the instruction of fighters before attacking - he is full of faith in victory.

Philosophical ideas Petrov-Vodkin find an adequate plastic expression. The imaged space extends over the spherical surface of the planet. The combination of direct and reverse perspective is convincingly and sharply transfers the "planetary" panorama of what is happening. Clearly solve figurative problems in the color system. In his painting, the artist adheres to the principle of a three-family, as if personifying the main colors of the Earth: Cold Blue Air, Blue Water; brown-red earth; Green of the plant world.

The artists of the OMX group left in the history of Soviet painting were left in 1927. Many of them became close to each other in the pre-revolutionary years in the joining the "Bubnovy Valen". The most active in Ohkh was p.p. Konchalovsky, I.I. Mashkov, A.V. Lentulov, A.V. Kubrin, R.R. Falk, V.V. Christmas, A.A. Osmertkin Art portrait art

In his declaration, Omha artists said: "We demand from the artist of the greatest effectiveness and expressiveness of the formal aspects of his creativity, forming the inseparable with the ideological side of the latter." This program felt the proximity of the group "4 arts".

One of the most striking expressants of this program in the Soviet art of the first years was p.p. Konchalovsky. He sought to combine the "Bubnovovet" trends with the heritage of Russian realistic artists, which largely expanded his creative range, helped organic more in the Soviet art of the 20s. Coloristic wholeness with the intensity of individual colors is distinguished by such works of the wizard as "self-portrait with his wife" (1922), "Portrait O.V. Konchalovskaya" (1925), "Portrait of Natasha's daughter" (1925). In the same years, P.P. Konchalovsky attempts to create thematic paintings, among which the best are "Novgorod" (1921) and "from the Fair" (1926). The artist is interested in traditional images of the "Russian men" - mighty, darling, living surrounded by the usual subjects, according to the laws of old customs and, together with their middle components, something typically national.

Artists and artistic associations of the 30s.

The 1930s in the history of Soviet art is a difficult period reflecting the contradictions of reality itself. Having perceived considerable shifts that took place in society, the pathos of industrialization, the art masters at the same time almost did not notice major public contradictions, did not express social conflicts related to the strengthening of the cult of the personality of Stalin (1).

On April 23, 1932, the Central Committee of the Party adopted a resolution "On the restructuring of literary and art organizations". This resolution was eliminated by all previously artistic groupings and general pathways and forms of stabilization and development of all the creative forces of Soviet art are indicated. The decision weakened that confrontation between individual associations, which was so aggravated at the turn of the 20s - 30s. But on the other hand, the tendencies of unification intensified in deciduous life. The avant-garde experiments, who gave themselves to know in the 20s, were interrupted. The struggle with the so-called formalism turned out, as a result of which many artists were forced to abandon their previous conquests.

Creating a Unified Union coincided with the approval of the principle of socialist realism, formulated by A.M. Gorky at the first All-Union Congress of Soviet Writers. Socialist realism assumed the inheritance of the traditions of realistic art of the XIX century. And aiming artists on the image of reality in its revolutionary development. However, as the further practice of Soviet art showed, the term "socialist realism" was not enough and adequate complex and multilayer trends in a new culture. Its formal application for artistic practice often attached to him the role of dogmatic brake development of art. In the conditions of social rebuilding of the 80s, the term "socialist realism" was subjected to a discussion discussion in professional circles at different levels.

Many progressive trends that appeared in the 20s continue to develop in the 30th. This applies to, for example, fruitful interaction of various national schools.

In large art exhibitions organized in the 1930s, artists of all republics of the Soviet Union are involved. At the same time, republican exhibitions are organized in Moscow in connection with decades of national art. National art issues are especially worried by artists of fraternal republics.

In the 1930s, the practice of state orders and creative business trips are expanding. The largest exhibitions are organized: "15 years of RKKKA", "20 years of the Red Army", "20 years of the VLKSM", "The industry of socialism", "Exhibition of the best works of Soviet painting" and others. Soviet artists participate in international exhibitions in Paris and New York, Perform work for the All-Union Agricultural Exhibition in Moscow, in connection with the preparation of which a significant number of monumental and decorative works was created, which, in essence, meant an important stage of the revival of monumental painting as an independent, having its own goals and patterns of art. In these works, there was an expression for the Soviet art to monumentalism.

An artist becomes one of the most significant representatives of machine painting of this period. Boris Vladimirovich Johanson (1893 - 1973), who turned in his work to the highest traditions of Russian painting XIX century. He interprets Surikov's heritage and Repin, bringing a new revolutionary content in its works a new revolutionary content. From this point of view, the paintings of Johanson "Interrogation of Communists" (1933) and "on the Old Ural Plant" (1937) are especially important.

The picture "Interrogation of the Communists" was first exhibited at the exhibition "15 years of RKKKA". In it, the artist showed the Communists who were staging on the defense of the revolutionary Fatherland, and their opponents - White Guards, who were trying to strangle the Soviet state during the civil war. The artist conducts its historical generalization in the traditions of Repin, through the show of a particular action in a specific environment. We do not know the names of people depicted here, the more historically universal is perceived by us the image as a whole. Communists in the picture of Johanson are doomed to death. But the artist shows their calm, courage, strength and resistance, which contrast with anxiety, nervousness, psychological disunity, reigning in the group of White Guards, powerlessness not only in this situation, but as it were, in the face of history.

In the picture "On the Old Ural Plant", written for the exhibition "The Socialism Industry", Johanson opposes the images of the breeder and the worker, in which he reveals the feeling of the emerging class self-consciousness and internal superiority over the exploiter. This picture, the artist showed a historical conflict between old and new, reactionary and progressive, and approved the victorious power of revolutionary and progressive. These are the new features of the Soviet historical and revolutionary genre on the example of the painting of Johanson.

A special place takes in this period a multifaceted image, topics and genres creativity Sergey Vasilyevich Gerasimov. The most striking work of the historic genre in his work is the picture of the "oath of the Siberian Partizan" (1933), which is amazing with its open expressiveness, detected by coloristic expressiveness, sharp pattern, dynamic composition. Working in the household genre, S.V. Gerasimov focused on the peasant theme. By her decision, the artist walked through the portrait by creating a number of convincing peasant images. During the construction of a collective farm village, he wrote one of the most brightest portraits of the "collective farm watchman" (1933). The most significant works of genre painting of the 30s entered the "Collective farm holiday" (1937), which was exhibited at the exhibition "The Socialism Industry". Exactly and Emko characterizes this picture the largest Soviet art historian academician I.E. Grabar: "When a wonderful canvas" collective farm holiday "appeared, one of the best paintings of the exhibition" The Socialism Industry ", the new, extraordinary growth of the master became obvious. It is hardly any of the Soviet artists, except Sergey Gerasimov, would cope with such a composite, light and the color challenge, and even with such simple tools and techniques. It was the solar picture in Russian painting during the revolution, despite the fact that it was fulfilled in the restrained plan "(1, p. 189).

"Singer" of the Soviet peasantry was Arkady Alexandrovich Devstors (1893 - 1983), associated with the Russian village with its origin. He had a great influence on him, the impressions of childhood spent in close communication with nature, with land, with peasants living on this earth.

After the Great October Socialist Revolution of Floors, who was led by the work in his native village, giving a free time of painting, accumulated Etudes and impressions for his future works dedicated to peasant life. One of the first significant works of Plastov - full air and light painting "Bathing Horse" - was performed by them for the exhibition "20 years of the Red Army". For the exhibition "The Socialism Industry" of the layers wrote a large cloth "Collective farm holiday". Another bright product of the plastov of the pore is the "collective farm herd" (1938). In all listed pictures, some common features are manifested. The reservoirs do not think the genre scene outside the landscape, outside the Russian nature, always been trained in a lyrical plan, revealing its beauty in the simplest manifestations. Another feature of the genre works of plastov is the absence of any conflict or a special moment in the elected artist of the plot. Sometimes in his paintings, such as in the "collective farm flock", there are no events at all, nothing happens. But at the same time the artist always achieves poetic expressiveness of the picture.

It has developed in the 30s talent A.A.Daeneki. He continued to adhere to his former topics, plots, favorite images, color and composite system. True, his picturesque manner is somewhat softened, examples of what the best works of the 1930s - "Mother" (1932), "Lunch Break in Donbass" (1935), "Future pilots" (1938). Sports, aviation, naked trained body, laconicism and simplicity of picturesque language, ringing combinations of brown-orange and blue are softened in some cases lyrism, the moment of contemplation. Daenek pushed the thematic framework of his work, including the stories from the life of foreign countries, which appeared as a result of traveling to the United States, to France, Germany and Italy.

Another former member Ost - Yu.I.Pimenov (1903--1977) created one of the best paintings of the 1930s "New Moscow" (1937). The landscape of the center of Moscow (pl. Sverdlova), as if seen from the racing car, behind the wheel of which a young woman sits back to the viewer. New built-up buildings, quick running of the car, light paints, an abundance of air, the breadth of space and the recruitment of the composition - everything is imbued with optimistic globalism.

In the 30s, landscaped creativity G.G. NIS (1903 - 1987), a follower of the coolests who took laconicism from them, the sharpness of composite and rhythmic solutions. These are his painting "Autumn" (1932) and "on the paths" (1933). In the landscapes of the Nissky, the conversion activity of man is always visible.

Of the landscape owners of the older generation I wonder the creativity of N.P. Crimea (1884 - 1958), which created in 1937 a famous picture "Morning in the Central Park of Culture and Rest named after Gorky in Moscow". A wide panoramic view of the park, who dropped behind him, was given, a smooth line of the horizon, taking the eye of the viewer outside the canvas, - everything breathes with freshness and exposure.

A. Flylov, whose work was formed at the beginning of the 20th century, in the picture "Lenin in Spilling" (1934) connects the landscape with the historical genre, reaching the feeling of the expanse of nature, thoughts, feelings, claiming historical optimism.

Panoramic landscape has been manifested in the works of many painters of various republics. This burden was associated with the sharp feeling of the Motherland, the native land, which in the 1930s strengthened and grew. D.N. Kakabadze (1889 - 1952) in his "Imereti landscape" (1934) gives a wide turn of the Caucasian Mountains, leaving the distance, - the ridge behind the ridge, the slope behind the slope. In the work of M.S. Saryan 30s were also marked by interest in national landscape, to panoramic views of Armenia.

Fruitful development during this period also receives a portrait genre in which artists of the older generation P.P. Konchalovsky, I.E. Grabar, M.V. Nesterov and some others.

P.P. Konchalovsky, known for its works in the most diverse genres of painting, in the 30s - 40s creates a whole series of portraits of students of Soviet science and art. Among the best portraits V.V. Sofronitsky per piano (1932), S.S. Prokofiev (1934), V.E. Meyerhold (1937). In these works, Konchalovsky contributes its excellent ability to express life through a plastic-flower system. It connects the best traditions of old art with an innovative sharpness of color vision, life-affirming, major emotional and powerful image sounding.

The genuine peak of the development of portrait painting of that period was the works of M.V. Nesterova. Throughout its work, which united the XIX and XX centuries., Nesterov retained livelihood with life. In the 30s, he survived a brilliant lift, re-opening his portrait talent. A figurative meaning in Nesterov portraits - approval of the creative spirit of time through the identification of creative pathos of a wide variety of people representing this time. The circle of Heroes Nesterov is representatives of the Soviet intelligentsia of the older generation, people of creative professions. So, among the most significant works of Nesterov, portraits of artists - Brothers Cory (1930), sculptor I.D. Shadra (1934), Academician I.P. Pavlova (1935), Surgeon S.S. Yudina (1935), sculptor V.I. Mukhina (1940). Nesterov acts as a continuous portrait tradition of V.A. Serov. He emphasizes the characteristics, emphasizes gestures, characteristic poses of their heroes. Academician Pavlov firmly clenched fists laid on the table, and this posture reveals the power of the spirit, contrasting with a clear old age. Surgeon Yudin is also depicted in a profile sitting at the table. But the expressiveness of this image is built on a characteristic, "flying" gesture, raised upwards. Extracted Yudin's fingers - typical surgeons, deft and strong, ready to fulfill his will. Mukhina is depicted at the time of creativity. She sculpts the sculpture - focused, not paying attention to the artist, entirely obeying his impulse.

It is concisely given in these portraits accessories. They are full and actively included in the characteristics of the people depicted by their color, illumination, silhouette. The flavor of the portraits is dramatically active, saturated with sound, finely coharled extra tones. So, complex color in the portrait of Pavlova, built on a combination of the finest shades of cold and warm tones, characterizes the spiritual clarity and the integrity of the inner world of the scientist. And in the portrait of brown brothers, it is thickened to deep blue, black, saturated brown, expressing the dramaticness of their creative state. Portraits Nesterov entered the art of fundamentally new, life-affirming began, creative combustion as the most typical and bright manifestations of people in the era of high employment enthusiasm.

Closest to Nesterov artist Pavel Dmitrievich Korin. (1892 - 1967). He brought up in the Palekh painters, he began his creative way with the Scriptures of Icons, and in 1911, on the Council Nesterov entered the Moscow School of Painting, Scary and Architecture. Surgo-demanding to themselves and to people, Corin carried this quality through all his creativity. In creative development, and indeed in the life of the artist, A.M. played a significant role Gorky, with whom he met in 1931 Gorky helped Corina to travel abroad to explore the best monuments of world art.

It may be that that is why the portrait gallery of scientists, artists, writers of our time, which Corin creates over the years, began the way A.M. Gorky (1932). Essentially, in this work, the main features of Corin-portraitist are revealed. Portrait of Gorky is a truly monumental product, where a clearly detected silhouette, a contrast background, a wide fill with the color of large canvas areas, a sharp expressive figure express the historical generalization of the writer's personality. For this, as for other portraits of Corin, is characterized by a harsh gamma with an abundance of dark gray, dark blue, oily, sometimes to black, tones. This gamma, as well as a clearly glued shape of the head and figures portrayed, expresses the emotional qualities of the artist himself (6).

In the 30s, Corin creates portraits of actors L.M. Leonidova and V.I. Kachalova, artist M.V. Nesterova, writer A.N. Tolstoy, scientist N.F. Gamalei. Obviously, for him, as well as for his spiritual teacher M.V. Nesterova, interest in creative personality is far from occasion.

The successes of painting of the 30s do not mean that the path of her development was simple and deprived of contradictions. In many works, those years showed and stabilized the features generated by the cult of I.V. Stalin. It is a false pathos of a pseudo-heteroic, pseudoromantic, pseudooptimistic attitude towards life that determines the essence and meaning of the "parade" art. There was a competition between artists in the struggle for the unmistakable "superpersians", associated with the image I.V. Stalin, the success of industrialization, the success of the peasantry and collectivization. There was a number of artists, "specializing" on this topic. The most tendentious in this respect was Alexander Gerasimov ("Stalin and K.E. Voroshilov in the Kremlin" and his other works).

Bibliography

1. Vereshchagin A. Artist. Time. History. Essays of the history of Russian historical painting XVIII - beginning. XX centuries. - L.: Art, 1973.

2. Painting 20 - 30s / Ed. V.S.manina. - SPb.: Artist RSFSR, 1991.

3. Zezina M.R., Koshman L.V., Shulgin V.S. The history of Russian culture. - M.: Higher. School, 1990.

4. Lebedev P.I. Soviet art during the period of foreign intervention and civil war. - M., 1987.

5. Likhachev D.S. Russian art from antiquity to avant-garde. - M.: Art, 1992.

6. Ilina T.V. History of Arts. Patriotic art. - M.: Higher. School, 1994.

7. History of the art of the peoples of the USSR. In 9 tons. - M., 1971 - 1984.

8. History of Russian and Soviet art / Ed. MM Allenova. - M.: Higher School, 1987.

9. Polycarpov V.M. Culturalology. - M.: Gardaria, 1997.

10. Rosin V.M. Introduction to culturalology. - M.: Forum, 1997.

11. Stepanyan N. Art of Russia of the XX century. View from the 90s. - Moscow: Eksmo-Press, 1999.

12. Suzdalev P.K. The history of Soviet painting. - M., 1973.

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