Fine Arts and Architecture in the USSR. Soviet fine arts Composers of the 30s of the USSR

The mass song, which originated in the 1920s, received an impetus for development in the 1930s, as it reflected the cultural needs of the working people. Composers carefully listened to the musical life, rethought the work of previous years and created bright new compositions. It was at this time that notable works by classical composers appeared - Pokrassov, M. Blanter, V. Zakharov, I. Dunaevsky. The texts of M. Svetlov, V. Gusev, M. Isakovsky, V. Lebedev-Kumach became popular.

Songs about labor

The people-fighter, sung in the 20s, in Peaceful time becomes a working people. That upsurge and pathos that sounded in the songs about the struggle began to accompany the first five-year plans. The image of the people-creator, creator, builder of a new life was created. The collective hero is a young, strong, self-confident worker. For the first time in his mass song, he appears with the "Song of the Counter" and is actively popularized. Its main features are will, a firm intention to build a peaceful happy life. The work has common features with upbeat French songs and inviting melodies of hymns.

"The Song of the Counter" has become a landmark in many respects. It was she who became the harbinger of the appearance of the main type of mass song - the youth march, and also largely influenced the song in the cinema. In addition to her, Dunaevsky’s works “March of Enthusiasts” to the verses of D “Aktil, Zakharov “Green expanses”, “Dark mounds are sleeping” (music of Bogoslovsky, text by Laskin) became famous. Dunayevsky "March of Tractor Drivers".

It is impossible not to pay attention to the obvious embellishment of reality. The life of the people in the post-war years was very difficult. The country was experiencing serious economic difficulties, collectivization was underway, many people had to live the fate of camp prisoners, to learn what repression is. The labor song, with its optimism, did not reflect real difficulties, but at the same time conveyed the main thing - the mood of people to overcome obstacles, confidence in future victories. A new ideal was born - a peaceful working life, creation in the name of the future. It was the mass song about labor that best conveyed and partly formed the readiness to survive all the trials and create a new happy country.

Songwriting and cinema

In the 1930s, cinema was only developing, and composers took an active part in this process. musical legend Soviet cinema - I. Dunaevsky. He worked in different genres, today his name is the first in the list of composers who worked a lot for cinema. He also wrote music for many performances, ballets, plays, operettas, cantatas. The collaboration of the composer with the outstanding singer Leonid Utyosov was very productive, it made it possible to create variety programs, thanks to which jazz compositions. This experience made it possible to expand musical horizons and create melodies associated with the most diverse and sometimes unexpected genres - from urban song to romance. The composer wrote music for 28 films.

Among the most famous composers who wrote music for cinema, one should also highlight the following: the Pokrassy brothers, V. Pushkov, Yu. Milyutin, D. Shostakovich, N. Bogoslovsky, N. Kryukov.

Popular genres of mass song

In addition to labor songs and cinematic songwriting, the following genres developed in the 1930s:

• hymnal;
• songs-memories of the civil war;
• defense;
• about the Soviet Army;
• about the collective farm village;
• lyrical.

Solemnity, resemblance to hymns are characteristic of songs about the Fatherland and the people, for example, "May Moscow", "March of Enthusiasts" and many others. Pride for their land and people sounds in the "Song of the Motherland". The civil war still resonates in songs, more often in the form of plot ballads: “Song of Kakhovka”, “Partisan Zheleznyak”, “Eaglet”, “Song of Shchors”, “Tachanka”. The unforgotten war, the readiness to defend the Motherland again in the event of an attack are heard in the defense songs “If there is war tomorrow”, “Three tankers”, “Far Eastern”, “Polyushko-field”, “These are not clouds, thunderclouds”. Songs about the Soviet Army “Through the valleys and on the hills”, “Echelon”, “Beat from the sky, planes”, “Zabaikalskaya” are consonant with them.

In parallel with the development of the defense and post-war songs, village labor was sung, in lyrical works - pure feelings: “Along the village”, “Seeing off”, “And who knows”, “The Seagull”, “Katyusha”, “Anyuta's Song”, “Heart, you don’t want peace”, “Unsuccessful date”, “Tired sun”, “ Evening is leaving. Often in lyric song Weaves of motives of love and patriotic feelings are noticeable.

The 1930s is one of the most interesting pages in the history of the Soviet state. This is the time of the conquests of the Arctic, the storming of the stratosphere, the time of the first five-year plans and unheard-of victories in labor, the time of gigantic construction that unfolded throughout the country. Then they built a lot, solidly and beautifully. The outlines of the buildings conveyed the businesslike and courageous mood of their builders. New buildings appeared on the map of the Union, the centers of old cities were bordered by new districts. Factories and workers' settlements were built, numerous rivers were blocked by hydroelectric dams. In the parks of cities, bowls of stadiums grew. Among the old houses on wastelands, buildings rose up, called by the will of time and the talent of architects to change the traditions of the past life. One of the brightest examples of all this huge construction is Moscow.

Let's take a trip around Moscow in the 1930s and see how many changes have taken place in it in a few years. Throughout the city territory, the waters of the Moscow River and the Yauza were dressed in granite. The center of the city has completely changed its appearance: the squares have expanded, freed from old, dilapidated houses. In the very center of the capital, on the corner of the former Okhotny Ryad and Gorky Street, the house of the Council of Ministers of the USSR was built according to the project of the architect A. Langman. Strict proportions of the building, resembling a slender parallelepiped, a clear and rhythmic relationship between window openings and wall planes give the building a businesslike and calm look. Wide vertical stripes of white-stone cladding on the smoky facade create an impression of solemnity, emphasizing the state significance of the building.

The first stations of the Moscow metro are strict and expressive in decoration. Over one

the high ceilings lie like platforms calmly on tetrahedral columns; bright vaults spread over others. Smooth electric light bathes the polished stone cladding. Glass, ceramics, metal, wood with their forms give the architecture of the underground lobbies of the metro airiness, elasticity, warmth. The stations are all different, although they are close in style.

The arch of the Aeroport station (architects V. Vilensky and V. Ershov), like an open parachute dome, is cut through by swift white lines - slings. The many-sided white columns of the underground vestibule of the Kropotkinskaya station (the former Palace of the Soviets, architects A. Dushkin and J. Lichtenberg) expand under the vault, forming bowls in which light sources are hidden. Thanks to this, the internal space seems to increase, and the appearance of the station becomes stricter. Almost all the stations of the Moscow metro of these years attract with the expediency of their strict, businesslike architecture. There is nothing superfluous in them, almost every architectural detail solves both artistic and technical problems at the same time.

In the 1930s, many of our architects sought to subordinate appearance buildings to their functional purpose. Here is the building of the editorial and publishing house Pravda, architect P. Golosov. Its walls are cut through with wide strips of windows: after all, both the literary collaborator and the printer are helped by light and the sun in their work. From the glass lines of the windows, the bulk of the plant has become slimmer and more welcoming.

Everyone has it architectural structure has its place in the ensemble of the city. Hiding or emphasizing the appearance of the surrounding buildings, the openwork silhouette of the Crimean Bridge over the Moskva River, architect A. Vlasov, is far visible. This handsome bridge links together the smooth surface of the river, the massif of the Central Park of Culture and the panorama of the city. His body is suspended on two garlands of steel plates, energetically and freely cutting through the air, and this makes it seem as if the bridge is weightless, as if it is woven from thin shiny threads.

Palace of Culture of the Moscow Automobile Plant. Likhachev, created by the architects the Vesnin brothers, is located in a park turned into a sports town, at a steep cliff descending to the Moscow River (see the article “The architects Vesnin brothers”).

Construction in Moscow was then carried out according to a single plan for the reconstruction of the capital, adopted in 1935. For other cities of the country - Leningrad, Novosibirsk, Sverdlovsk, Kharkov, Baku, Tbilisi, Yerevan, Dushanbe, etc. - their own master plans for reconstruction were also developed.

And of course, the architecture of these years could not do without its constant "comrades-in-arms" - sculpture and painting. Monumental sculpture and painting played an important role in the ensembles of metro stations, the Moscow Canal, and the All-Union Agricultural Exhibition in Moscow. Mosaics by A. Deineka on the ceiling of the Mayakovskaya metro station, as it were, tell about one day in the country (see the article “A. A. Deineka”).

A significant contribution to the development of monumental painting was made by E. Lansere. His paintings of the plafonds of the Moskva Hotel restaurant create the illusion of a large space: it seems that not the ceiling, but the high vault of heaven opens before the gaze of a person in the hall.

Among the works of monumental painting of the 30s

years, the murals of the Moscow Museum for the Protection of Motherhood and Infancy, made by V. A. Favorsky and L. A. Bruni, stand out. In them, the artists embodied the harmony of the new man, the earthly beauty of his feelings. The sculptures by V. I. Mukhina placed in the museum were also consonant with the paintings.

Many architectural structures of the 1930s cannot be imagined without sculpture. The famous sculptural group by V. I. Mukhina “Worker and Collective Farm Girl” (see illustration, pp. 328-329), which adorned the Soviet pavilion at the World Exhibition in Paris, became the symbol of this community.

In the 1930s, numerous sculptural monuments appeared, which were included in the ensembles of squares and streets of different cities. The sculptors V. I. Mukhina and I. D. Shadr worked on the projects of the monuments (see the articles “V. I. Mukhin” and “I. D. Shadr”), S. D. Merkurov and M. G. Manizer (1891 - 1966), N. V. Tomsky (b. 1900) and S. D. Lebedeva (1892-1967). In the 1930s, a broad implementation of the plan of monumental propaganda that was conceived by Lenin and began to be implemented in the first years of the revolution began.

The development of monumental art and the idea of ​​synthesis of all types of art also influenced the easel forms of painting, sculpture and graphics. Even in small easel works, artists sought to express great content, to create a generalized artistic image.

In the canvas by S. V. Gerasimov "Collective Farm Holiday" (Tretyakov Gallery, Moscow), as in focus, the characteristic features of painting of those years are collected. The sun generously sends rays from a cloudless sky. Nature is imbued with serene peace and joy. Tables with rich refreshments are set right on the meadow. Apparently, an excellent harvest has been collected. Gerasimov draws the people of the new collective farm village: smiling women, a guy with a bicycle, a heroine girl, a Red Army soldier on vacation. The pictorial manner of Gerasimov also contributes to the mood of joy: he paints a picture with light colors, with a wide movement of the brush, achieving an impression of lightness, a feeling of airiness (see the article “S. V. Gerasimov”).

A. A. Deineka in the 30s came with his own established tradition. He conveys a sense of modernity both with new plots and with a new pictorial form. Full of health, exude the joy of life, his guys in the film "Lunch break in the Donbass" (Museum of Latvian and Russian Art, Riga). His boys in Future Pilots live in anticipation of big things (see illustration, pp. 304-305). In these paintings, Deineka's painting, as before, is stingy, concise, it has strict and clear rhythms, sharp color contrasts.

Imbued with "Deinekov's" moods, but a softer painting by Yu. I. Pimenov (b. 1903) "New Moscow" ( Tretyakov Gallery, Moscow). A woman drives a car along the rain-washed Sverdlov Square. The center of the new Moscow opens before her. And together with her, we admire our capital.

A. A. Deineka, Yu. In his own way, the artist M. V. Nesterov, already old at that time, approached the solution of new problems. He sought to create an image of a man-creator typical of those years. In his portraits, he captured people who were completely passionate about their work, who went in search of

scientific and artistic truths (see article "M. V. Nesterov" and illustrations, p. 306).

In the historical genre, B. V. Ioganson came to broad artistic generalizations, creating truly monumental canvases “Interrogation of the Communists” (see illustrations, pp. 312-313) and “At the old Ural factory”. Both of these paintings were perceived by contemporaries as a symbol of the road of struggle passed by the people. The images created by Ioganson are heroic and significant (see the article "B. V. Ioganson").

With all the general striving for a generalized and monumental image, painting, sculpture and graphics of the 1930s were created by artists who differed in style. Their works differ from each other in artistic means and the degree of psychological depth, as well as plots and themes. The plot of V. Prager's painting "Farewell, comrade" is extremely stingy (Tretyakov Gallery, Moscow). The red detachment, frozen in the ranks, pays its last respects to a comrade who fell in battle. He lies on a stretcher on the snow-covered grass. Paints speak about people's feelings - nobly clean, slightly minor, applied with strict brush movements.

It is difficult in terms of the combination of color, the tension of the picturesque scale, the canvas of K. S. Petrov-Vodkin “1919. Anxiety". A worker peers through a window into the midnight street. An unexpected event awakened his loved ones. The artist deliberately does not finish the plot. Either the whites broke into the city, or a sabotage was committed ... The main thing is in the readiness of his heroes to courageously face trouble, in the tense mood of the canvas (Russian Museum, Leningrad; see the article "K. S. Petrov-Vodkin").

More "talkative" in the language of painting than the plot, and the picture of K. N. Istomin (1887 -1942) "Universities". Fragile figures of female students, enthusiastically working at the table, are given in the color unity of green, white, black colors, which convey both the purity of the images and the tension of time.

Original talented painters worked in the 30s in the union republics: E. Akhvlediani in Tbilisi, III. Mangasarov in Baku, B. Nurali in Ashgabat.

The development of monumental art forms did not interfere with lyrical or deeply psychological genres. In sculpture, for example, the portrait is successfully developed. Great success in this genre was achieved by Sarah Lebedeva (1892-1967) - a connoisseur of human characters, able to notice the barely noticeable movements of the soul. Lebedeva always focuses on the special that is inherent only in this model. Her "Chkalov" is a gifted whole person who directed all her strength of character to achieve the goal of her life. Lebedeva sculpts her portraits very freely: they are not smoothed, they have external features etude, but this makes them seem especially alive.

Portraits by V. Mukhina, on the contrary, are always monumental: they are stable in their composition, massive, energetic.

Great depth of understanding human personality achieved in his self-portrait sculptor A. Matveev. This is a whole autobiography, embodied in the image: wisdom, will, power of thought and great human purity have merged in it.

Magnificent portraits were also created during these years by the master of journalistic compositions I. Shadr. Full of dynamics, anger towards philistinism and an impulse for freedom, for struggle, a portrait of young Gorky (Tretyakov Gallery, Moscow), Women's images Shadra are very lyrical.

The theme of the past and the present, so vividly presented in sculpture and painting, was also reflected in graphics. Most of the artists during these years devote their drawings and engravings to the plots of construction and labor. There is a gallery of portraits of outstanding contemporaries: scientists, technicians, workers, peasants.

In the 1930s, book graphics experienced a heyday and great changes. The demand for books is growing. Classics and contemporary writers published in large numbers. A whole generation of young masters comes to the book. Next to V. A. Favorsky, his students A. D. Goncharov (b. 1903) and M. I. Pikov (b. 1903) work. The ranks of illustrators are replenished by Kukryniksy (see the article “Kukryniksy”), D. A. Shmarinov (b. 1907), E. A. Kibrik (b. 1906), A. M. Kanevsky (b. 1898). Shmarinov creates a series of dramatic illustrations for Dostoevsky's "Crime and Punishment", Kibrik - a series of lithographs for Rolland's "Cola Breugnon", Kukryniksy-drawings for Gorky's "Klim Samgin", Kanevsky - for Saltykov-Shchedrin.

V. V. Lebedev (1891 - 1967) and V. M. Konashevich (1888 - 1966) designed children's books with easy humor, captivatingly and with great seriousness. The images created by them are sometimes good-natured, sometimes ironic, but never instructive.

S. D. Lebedeva. Portrait of V. P. Chkalov. 1937. Bronze. State Tretyakov Gallery. Moscow.

The 1930s was a difficult period in the life of the country. They had their historical difficulties. The war was coming. These difficulties were reflected in art. But the main thing that determined the art of the pre-war decade is that the method of socialist realism finally took shape in it. Art established its martial traditions, it was ready for serious and severe trials.

The 1930s became a time of radical change for Russian culture, reflecting complex processes and accomplishments in the history of Soviet society. It was at this time that the command-administrative management system was finally formed, headed by the political leadership, grouped around I.V. Stalin. It is not surprising that close attention was paid to art in order to put artistic activity in the country under strict control, if not excluding, then severely limiting the freedom of creative pursuits. This policy generally achieved its goal: many writers, artists, musicians and other artists sought to respond to such a "social order". The complexity of the situation was that, along with unprincipled opportunists, honest artists followed the regime's plans, accepting the guidelines imposed by force as an inevitable imperative of the times and even sincerely believing in the beneficialness of the changes that were taking place.

A powerful and effective propaganda machine supported the ideas and moods of social optimism, especially since certain achievements were evident. The ideas of collectivism were still alive, many artists were still inspired by the ideal of a man-fighter, confident in tomorrow and able to set conscious goals and achieve them, dragging along a cohort of like-minded people. The persistence of many artists to inspire themselves and their audiences with a sense of pride in the real and sometimes illusory achievements of a developing society is striking. It is important to emphasize the role of such a psychological attitude, since without taking it into account it is difficult to understand why prominent, gifted musicians contributed to the establishment of the ideological foundations on which the theory and practice of Stalinism were built.

The decisive factor that determined the new properties of the music of the 1930s was the Soviet mass song. Of course, there was nothing unexpected in this: even in the 1920s, the song contained the most progressive and dynamic tendencies in the transformation of musical consciousness, in the birth of a multi-component and stylistically heterogeneous intonational structure of modernity. But the mass song of the 1930s is a qualitatively new phenomenon, imprinting a kind of musical style era to the extent that it finds expression in catchy and capacious song generalizations. The mass song of the 1930s by no means exhausted the intonational structure of its time, but it stood at the forefront, it imprinted significant shifts in the musical consciousness of the people. One of the leading features songwriting In the 1930s, the composer's song, created by such recognized masters as I. Dunaevsky, M. Blanter, A. Alexandrov, V. Zakharov, and many others, became the leader.
The special catchiness and contagiousness of song generalizations picked up by the masses of people determined the absolutely exceptional role of the genre in the system of mass propaganda. The song as an important component of "custom art" turned out to be much more effective than newspaper rhetoric, scientific propaganda and statistical materials designed to demonstrate the advantages of a social system controlled by command and administrative methods. The melodies of praise to the greatness and wisdom of the great helmsman carried on the wings, faith in the omnipotence of the army and its leaders, capable of defeating the enemy with “little blood, a mighty blow”, are one of the main themes of songwriting in the 30s.

And yet it would be one-sided to evaluate the Soviet mass song of those years only in this way. The most prominent masters of the song genre raised it to such a hitherto unprecedented height, which had not been achieved before in the history of Russian music. mass genres. If it were not for such an upsurge of the genre in the 30s, the mass song would not have been able to play its truly exceptional role during the Great Patriotic War.
In the movement of the song to the listener in the 30s, the role of the mass media increased significantly, where sound cinema joined the former, previously mastered. The song leaves the screen, leaves the cinema halls on the street and the square, is picked up by masses of people and spreads throughout the country. The radio and the phonograph record are also becoming a powerful tool that ensures the movement of the song into everyday life, its impact on the musical consciousness of millions.

But state-owned enterprises were far from limited to the release of discs with recordings of mass songs - the lion's share of their production was the musical stage of domestic and foreign production. The attitude towards it has changed radically: the importance of the “light genre” in the life and life of people was understood and realized. Although the inertia of indiscriminate condemnation of the "light genre" still made itself felt in the speeches of critics, however, administrative prohibitions were practically lifted. “During these same years, cultural parks flourished especially splendidly, fireworks were launched especially often, carousels, attractions and dance floors were especially built. And never in the country did they dance and sing so much as in those years. What was needed was music for dancing, among which fashionable foxtrots and tangos, presented in a jazzy manner, still reigned. There was also a need for intonation-expressive gypsy singing, which was very popular in those years. The sweet cantilena of Neapolitan melodies, the vibrating sounds of the ukulele, the fashionable hits that descended from foreign musical films to the frequent tap dance - all these phenomena of the then " mass culture” were replicated in film copies and phonograph records, while the polished Hollywood prettiness often coexisted with really high examples of popular foreign music - vocal and instrumental. The latter include the music for the film "The Great Waltz", which caused an explosion of enthusiasm for the great J. Strauss. The melodies of the first sound films of Charlie Chaplin, fervent songs of the Hungarian film actress Francesca Gaal, who fell in love with the Soviet audience, were also heard.

The most important tasks of this period were the elimination of illiteracy of the population and the implementation of universal primary education. In an ideologized society, every person had to be able to read at least the slogans of the ruling party, its guidelines for building socialism, to understand from the newspapers who is a friend and who is an "enemy of the people." In the 30s. illiteracy was completely eradicated. According to the 1939 census, the proportion of literate people in the RSFSR aged 9 to 49 was about 90%. Since 1930, they began to introduce universal primary (four-year) education (in tsarist Russia According to the Stolypin reform, universal free education for children from 8 to 13 years old was introduced back in 1908).

A large number of schools were built, carried out broad program training of teaching staff. The network of higher educational institutions. By 1940, there were 4.6 thousand universities in the country. Number of specialists with higher education increased from 233 thousand in 1928 to more than 900 thousand in 1940, that is, more than three times.

IN high school in 1934, the teaching of civil history, which had been canceled after the October Revolution, was restored. The historical faculties liquidated in 1918 were opened at the Moscow and Leningrad universities.

Scientific research in the 30s. were carried out by academic, branch (departmental) and university scientific forces. The Academy of Sciences of the USSR became the center of fundamental science. characteristic feature in its work there were traveling scientific sessions to help in solving specific problems of modernizing the economy. At the same time, the mechanical transfer to science of the forms and methods of organizing industry and agriculture caused damage to fundamental research, since scientists were required, for example, to participate in socialist competition under the slogan "Catch up and overtake the science of the capitalist countries!" (only in 1939 this slogan was canceled as erroneous).

Soviet scientists in the 30s. achieved many outstanding achievements. Under the leadership of academician S. Lebedev in 1932, for the first time in the world, synthetic rubber was obtained on an industrial scale. In 1932, the first Soviet rocket was tested, and at the same time the Reactive Research Institute (RNII) was established. Research was successfully carried out in the field of nuclear physics (scientific school of Academician A. Ioffe) and others. The accelerator of elementary particles launched at the Radium Institute in Leningrad in 1936 became the largest in Europe. Great success was achieved by Soviet science in the development of the Arctic, and intensive study of the stratosphere began.

However, in the 1930s science also suffered serious losses as a result of repression and incompetent interference by the authorities. So, heliobiology, the science of the relationship between solar phenomena and living beings, was persecuted, and its founder A. Chizhevsky and his research were forgotten. Theoretical physicist L. Landau, rocket designer S. Korolev and many others were repressed. Pedology - the science of the age characteristics of the child - was defeated.

In social science, it was allowed to conduct research only within the framework of Marxism-Leninism and party guidelines. IN historical science the scientific school of academician M. Pokrovsky was destroyed. The book “History of the CPSU (b.)” was recognized as the main historical work. A short course, published in 1938. Stalin was directly involved in its writing.

Significant progress has been made in Soviet literature and art. There were novels by M. Sholokhov " Quiet Don”and“ Virgin Soil Upturned ”(first book). One of the most widespread works of Soviet literature was N. Ostrovsky's novel "How the Steel Was Tempered". Popular were the books of the writers A. Tolstoy (the trilogy "Walking through the torments", the novel "Peter I"), A. Novikov-Priboy ("Tsushima"), V. Shishkov ("Gloomy River"), etc. Many books appeared for children. The most famous books by A. Gaidar "School", "Military secret", "Timur and his team". Among the most famous poets were M. Svetlov, N. Aseev, I. Utkin and others.

In cinematography, there was a transition from silent to sound cinematography. Films about the events of the revolution and the Civil War were popular: “Chapaev” (directors G. and S. Vasiliev), “We are from Kronstadt” (E. Dzigan), a trilogy about Maxim (G. Kozintsev and L. Trauberg), as well as “ Tractor drivers ”(I. Pyryev). The film comedies "Merry Fellows", "Volga-Volga" and "Circus" (G. Alexandrov) enjoyed great success.

In the visual arts, the leading artists were those who depicted the events of the revolution, the Civil War, socialist construction: B. Ioganson ("Interrogation of the Communists", "At the Old Ural Factory"), A. Deineka ("Future Pilots"), Yu. Pimenov (a series of sketches and portraits "New Moscow"). The studio, led by the founder of Soviet battle painting M. Grekov, was actively operating. Studio artists dedicated their paintings to the Civil War.

famous painter M. Nesterov painted deep, sharp-character portraits (“I. Pavlov”, “V. I. Mukhina”). The sculptor and artist V. Mukhina in 1937 completed the sculptural group “Worker and Collective Farm Girl”, which immediately became widely known.

Was on the rise musical culture. Such outstanding composers as D. Shostakovich (opera "Katerina Izmailova", ballets "Golden Age", "Bright Stream") and S. Prokofiev (ballet "Romeo and Juliet") worked in the country. Music for films was written by I. Dunaevsky, brothers Dm. and Dan. Pokrass and others. The songs of M. Blanter and V. Solovyov-Sedovoy to the verses of M. Isakovsky, A. Surkov, V. Lebedev-Kumach immediately became popular. Everywhere in the country and abroad they sang the song "Katyusha" (1939: music by M. Blanter, lyrics by M. Isakovsky).

At the same time, already in 1932, the Central Committee of the All-Union Communist Party of Bolsheviks adopted a resolution “On the restructuring of literary and artistic organizations”, as a result of which all diverse literary associations and groups were liquidated and a single Union of Writers of the USSR was created. The first congress of writers took place in 1934. Subsequently, similar unified unions were created among composers, architects and other figures of the creative intelligentsia. Literature and art were under vigilant strict and party-state control. chief creative method Socialist realism was declared in literature and art, which obliged writers, artists and composers to create works based on party guidelines. In the literature, priority attention was recommended to be given to the production theme, to reflect the heroic efforts of the people during the period of industrialization and collectivization. "Production" prose appeared. In the novels and stories of F. Panferov "Bruski", M. Shaginyan "Hydrocentral", F. Gladkov "Energy" and many others, labor exploits and production relations of workers and peasants became the object of the image. The model of "social order" has become a reality.

In the 30s. many eminent figures Literature and art were forced to work, not hoping for lifetime publication or public recognition of their works. Such was the fate of the novel "The Master and Margarita" by M. Bulgakov, the story "The Pit" and the novel "Chevengur" by A. Platonov, the poem "Requiem" by A. Akhmatova and a number of others. Among the banned writers and poets were S. Yesenin, M. Tsvetaeva, M. Zoshchenko.

Harassment and harsh criticism have become the lot of many talented representatives Soviet culture. Musical works D. Shostakovich were declared a confusion, theatrical performances V. Meyerhold - formalism, etc.

Poets N. Klyuev and O. Mandelstam, writers I. Babel, D. Kharms, B. Pilnyak, director V. Meyerhold and many others died as a result of repressions.

In the visual arts, only the Wanderers of the 19th century were promoted as a model. Other directions were either rejected or hushed up. So it was with the works of P. Filonov and K. Malevich, the brightest representatives of the Russian avant-garde in painting. At the same time, on many canvases, artists in the 30s. portrayed Stalin, which testified to the reliability of the painter.

In the 30s. the Soviet government continued the purposeful policy of the state to defeat religious organizations in the USSR, in which the Communist Party saw its enemy. Many Orthodox monasteries, cathedrals, churches, as well as religious buildings of other religious denominations were closed or destroyed. In 1929 alone, 1,119 churches were closed in the country. In 1931 the Cathedral of Christ the Savior was blown up. All this led to the almost complete extermination of the legal clergy.

The tragedy was the split of national culture, when many of its leaders were in exile. However, despite being isolated from their homeland, Russian emigrants were intensively creative life. Newspapers and magazines were published in Russian, books were published, exhibitions were organized. In 1933, the writer I. Bunin was awarded the Nobel Prize in Literature. He became the first Russian writer to receive such high recognition.

Among the exiles were the philosophers N. Trubetskoy and L. Karsavin (he was shot after the Soviet troops occupied the Baltic states in 1940). Comprehending the historical path of Russia, they founded a rather odious Eurasian movement, the main task of which was to prove that Russia belongs to two worlds - Europe and Asia, that Russia has a special place in history - to be a link between these two continents.

A native of Russia, engineer and inventor V. Zworykin in 1931 in the United States created an iconoscope - the first transmitting television tube. The Russian aircraft designer I. Sikorsky founded a company in the United States, where he designed and launched military and passenger aircraft and helicopters that have received international recognition.

By the end of the 30s. The USSR came out on top in the world in terms of the number of pupils and students and in terms of the rate of training of specialists. At the same time, the nationalization of culture, science and education was supplemented in the 30s. total politicization and ideologization. Even primers became a tool for the necessary orientation of a young man, who was then part of political world. In the struggle for the minds of children, the totalitarian system has triumphed over the family. Soviet primers instilled in children not only a readiness for a feat, but also sacrifice: "Comrade Voroshilov, I will quickly grow up and stand in place of my brother with a rifle at the post." An indispensable element of the school educational program was preparation for a future war.

Along with the theme of the external enemy, the textbooks always contained the theme of the “enemy of the people”. The version of their existence was introduced into the heads of children at the subconscious level, and the names of "enemies of the people" were obligatorily erased from textbooks.

For the children of that time, radio, cinema and a tractor were real miracles of the Soviet government, next to which “priest's tales” faded, so schoolchildren easily grew into a totalitarian society.

Propaganda work became more and more one-sided. In the context of the elimination of adult illiteracy, which coincided with a new round of exacerbation of the class struggle, the basics of the taught literacy were necessarily combined with the basic political guidelines of the CPSU (b). The student, along with the basics of literacy, had to receive a full measure of political knowledge. Each lesson in the countryside ended, for example, by imprinting the slogans into the brain: “Do not bow to the fists”, “Commune - flour to the fist” (Siberian primer for adults). Such a psychological "socialization" of the individual created the necessary prospects for the success of the reforms planned by the Communist Party.

In the USSR by the end of the 30s. there was an integral political, socio-economic system - socialism, which meant the socialization of private property. Socialism was "state", since the functions of disposing of property and political power were carried out not by society, but personally by Stalin and the party-state apparatus. (As historical experience has shown, there can be no other "non-state" socialism in principle).

Objectively, the main historical task, which was solved at the cost of huge sacrifices in the course of building socialism in the USSR, was the forced final breakthrough from an agrarian society to an industrial one. A number of researchers define this system as a left-totalitarian regime.

Getting acquainted with the works of Soviet fine art, you immediately notice that it is very different from the previous period in the history of art. This difference lies in the fact that all Soviet art is permeated with Soviet ideology and was called upon to be the conductor of all ideas and decisions. Soviet state and the Communist Party as the leading force Soviet society. If in the art of the 19th - early 20th century artists subjected the existing reality to serious criticism, then in the Soviet period such works were unacceptable. The pathos of building a socialist state was attached like a red thread through all Soviet fine arts. Now, 25 years after the collapse of the USSR, there is a heightened interest in Soviet art on the part of the audience, especially it is becoming interesting for young people. Yes, and the older generation is rethinking a lot in the past history of our country and is also interested in seemingly very familiar works of Soviet painting, sculpture, and architecture.

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

In the first years after the revolution and in the years civil war played a huge role combat political poster. The classics of poster art are rightfully considered D.S.Moore and V.N.Deni. Moor's poster "Have you signed up to volunteer?" and now captivates with the expressiveness of the image.

In addition to the printed poster, during the Civil War years, hand-drawn and stenciled posters arose. This "ROSTA Windows", where the poet V. Mayakovsky took an active part.

During the Civil War he worked monumental propaganda plan, compiled by V.I. Lenin, the meaning of which was the construction of monuments throughout the country famous people who in one way or another contributed to the preparation and accomplishment of the socialist revolution. The executors of this program are primarily sculptors N.A. Andreev I.D. Shadr.

In the 1920s, an association was formed that played a significant role in building a new Soviet society - Russia" (AHRR) "Association of Artists of Revolutionary Russia (AHRR).

In the 1930s, a single Union of Artists of the USSR was created, uniting all artists who, in their work, had to follow the method of socialist realism. Artists of the older generation (B. Kustodiev, K. Yuon and others.) and younger ones sought to reflect the new in Soviet reality.

In creativity I.I. Brodsky reflected the historical and revolutionary theme. The same theme in the works M. Grekova and K. Petrov-Vodkin is sublimely romantic.

In the same years, the epic began "Leniniana", who created countless works dedicated to V.I. Lenin during the Soviet period.

The genre painters (masters of the everyday genre) and portrait painters of the 20s-30s should first of all be called M. Nesterov, P. Konchalovsky, S. Gerasimov, A. Deinek, Y. Pimenov, G. Ryazhsky and other artists.

In area landscape such artists worked as K.Yuon, A.Rylov, V.Baksheev and others R.

After the revolution and the civil war, there was a rapid construction of cities in which many monuments to prominent figures of the revolution, parties and states. famous sculptors were A.Matveev, M.Manizer, N.Tomsky, S.Lebedeva and others.

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

During the years of the Great Patriotic War Soviet art resolutely refuted the saying that "when the cannons rumble, the muses are silent." No, during the period of the most cruel and terrible wars in the history of mankind, the muses were not silent. Immediately after the perfidious attack of the German fascists on the Soviet Union, the brush, pencil and chisel of artists became a formidable weapon in the fight against the enemy.

The heroic upsurge of the people, their moral unity became the basis on which the Soviet art of the Patriotic War arose. He was filled with ideas patriotism. These ideas inspired poster artists, inspired painters to create paintings that tell about the exploits Soviet people determined the content of works in all types of art.

A huge role at this time, as in the years of the civil war, was played by a political poster, where artists such as V.S. Ivanov, V.B. Koretsky and others. An angry pathos is inherent in their works, in the images they created, the unbending will of the people who stood up to defend the Fatherland is revealed.

A genuine renaissance is experienced during the war by a hand-drawn poster. Following the example of "ROSTA Windows" in 1941 - 1945, numerous sheets were created "Windows TASS". They ridiculed the invaders, exposed true essence fascism, called on the people to defend the Motherland. Among the artists working in "Windows TASS", first of all, one should name Kukryniksov (Kupriyanov, Krylov, Sokolov).

The graphic series of this time convincingly tell about the experiences of Soviet people during the war years. Magnificent series of drawings marked with heartache D.A. Shmarinova "We will not forget, we will not forgive!" The severity of life besieged Leningrad captured in a cycle of drawings A.F. Pakhomov "Leningrad in the days of blockade".

It was difficult for painters to work during the war years: after all, it takes time and appropriate conditions, materials to create a finished picture. Nevertheless, then there were many canvases that were included in the golden fund of Soviet art. The painters of the studio of military artists named after A.B. Grekov tell us about the difficult everyday life of the war, about warrior heroes. They traveled to the fronts, took part in hostilities.

Military artists captured on their canvases everything that they themselves saw and experienced. Among them P.A. Krivonogov, the author of the painting "Victory", B.M. Nemensky and his the picture "Mother", a peasant woman who sheltered soldiers in her hut, survived a lot in a difficult time for the Motherland.

Canvases of great artistic value were created during these years A.A. Deineka, A.A. Plastov, Kukryniksy. Their paintings, dedicated to the heroic deeds of the Soviet people of the Soviet people at the front and in the rear, are imbued with sincere excitement. The artists affirm the moral superiority of the Soviet people over the brutal force of fascism. This manifests the humanism of the people, their faith in the ideals of justice and goodness. The courage of the Russian people is evidenced by historical canvases created during the war, including such as the cycle paintings by E.E. Lansere "Trophies of Russian weapons"(1942), triptych by P.D. Korin "Alexander Nevsky", canvas by A.P. Bubnov "Morning on the Kulikovo field".

She told us a lot about the people of the wartime and portrait painting. Many works of outstanding artistic merit have been created in this genre.

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

During the Patriotic War, Soviet art honorably fulfilled its patriotic duty. The artists came to victory after going through deep experiences, which made it possible in the first post-war years to create works with a complex and multifaceted content.

In the second half of the 1940s and 1950s, art was enriched with new themes and images. Its main tasks during this period were to reflect the successes of post-war construction, the upbringing of morality and communist ideals.

The flourishing of art in the postwar years was largely facilitated by the activities of the Academy of Arts of the USSR, which includes the most significant masters.

Art post-war years other features are also characteristic, which primarily relate to its content. During these years, the interest of artists to inner world person. Hence the attention paid by painters, sculptors, graphic artists to portraits and genre compositions, which make it possible to present people in a variety of ways. life situations and show the originality of their characters and experiences. Hence the special humanity and warmth of many works dedicated to the life and life of Soviet people.

Naturally, at this time, artists continue to worry about the events of the recent war. Again and again they turn to the exploits of the people, to the painful experiences of the Soviet people in a harsh time. Such paintings of those years are known as "Mashenka" by B. Nemensky, "Letter from the front" by A. Laktionov, "Rest after the battle" by Y. Nemensky, "Return" by V. Kostecki and many others.

The canvases of these artists are interesting because the theme of the war is solved in them in an everyday genre: they draw scenes from the life of Soviet people in the 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 everyday genre. Gradually, the peaceful life of the Soviet people, which replaced the hardships of the war years, finds an ever more complete and mature embodiment in the work of many artists. A large number appear genre paintings (i.e., paintings of the everyday genre), striking with a variety of themes and plots. This is the life of the Soviet family, with its simple joys and sorrows ( "Again deuce!" F. Reshetnikova), this is hot labor at plants and factories, on collective farms and state farms ( "Bread" by T. Yablonskaya, "On Peaceful Fields" A. Mylnikova). This is the life of Soviet youth, the development of virgin lands, etc. A particularly important contribution to genre painting was made during this period by artists A.Plastov, S.Chuikov, T.Salakhov and others.

Successfully continued to develop during these years, portraiture is P. Korin, V. Efanov and other artists. In area landscape painting during this period, in addition to the oldest artists, including M. Saryan, worked R. Nissky, N. Romadin and others.

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