Musical art in the 30s presentation. Music in the USSR
1917 The Soviet government, signed by V. I. Lenin, issued a decree on the nationalization of the opera, the former "imperial" theaters (the Bolshoi in Moscow and the Mariinsky in Petrograd). In 1918, V. I. Lenin signed a decree on the nationalization of the Moscow and Petrograd conservatories and their transfer to the People's Commissariat of Education "on an equal footing with all higher educational institutions rights." The stage of "state musical construction" began - the organization of folk music schools, music publishing houses, theatrical business, concert associations.
Many prominent members of the older generation musical figures: A. Glazunov, R. Glier, K. Igumnov, A. Goldenweiser, N. Myaskovsky, B. Asafiev, L. Sobinov, A. Nezhdanova and others - gave their strength and experience to musical and educational work among the masses, organized popular concerts, lectures.
Folk musical creativity acquires an innovative character. Russian songs, military, marching soldiers, old revolutionary songs are remade, re-toned, new revolutionary texts are written for them. An unnamed collective author creates a Soviet folk song about the heroes of the revolution and the civil war: “Chapaev the hero walked around the Urals”, “Gay, on the road”, “The execution of the Communards”, “We will boldly go into battle”. Did a lot for propaganda folk song the choir of M.E. Pyatnitsky, after the revolution, received the right to become a permanent group, and in the 1920s. transformed into the State Russian Folk Choir. Composers A. Kastalsky, G. Lobachev, D. Vasiliev-Buglay and others contributed to the development of folk song creativity. The foundations of a professional Soviet song culture were laid, based on the traditions of folk songs and reflecting the composers' desire to bring their work closer to the present. The songs of Dmitry Pokrass “March of Budyonny” to the text of A. D’Aktil, “Seeing Off” by D. Vasilyev-Buglay to the text of Demyan Bedny, “Song of the Commune” by A. Mityushin to the text of V. Knyazev and, finally, best song of that time “Across the valleys and hills” by A. Alexandrov, the melody of which was reported to the partisan composer P. Parfyonov.
The first post-revolutionary years were marked by a great revival of musical, theatrical and concert performance activities. The basis of the musical repertoire at first consisted of the best examples of Russian and foreign classics. Along with the largest performers - artists of the older generation (F. Chaliapin, L. Sobinov, A. Nezhdanova, G. Pirogov, I. Ershov), M. Polyakin, G. Neuhaus, N. Golovanov, V. Barsova, N. Obukhova begin to perform , K. Saradzhev and very young D. Oistrakh, L. Oborin, G. Ginzburg, I. Kozlovsky, M. Maksakova, S. Preobrazhenskaya. The foundations of the Soviet performing school are being laid, headed by outstanding musicians K. Igumnov, A. Goldenweiser, S. Kozolupov, L. Nikolaev. Later the Soviet performing arts improved, state Russian and national musical groups: Symphony Orchestra of the Leningrad Philharmonic, Leningrad Academic choir chapel, Ukrainian choir chapel "Dumka", chamber ensembles-quartets (named after Glazunov, Beethoven, Komitas); the Red Army Song and Dance Ensemble is organized under the direction of A. Aleksandrov. Completely new forms of concert life arose - concerts-rallies. They were of an agitational nature and usually concluded congresses, conferences, rallies and other major public events.
In 1927, Soviet musicians took part for the first time in the International Chopin Piano Competition in Warsaw, where L. Oborin won first place.
Interest in musical science and criticism has noticeably increased. Soviet musical periodicals were created. In the national republics, with the help of Russian composers, a "socialist in content and national in form" musical culture developed.
The problem of innovation was sometimes solved in a simplified, schematic way, out of touch with modernity and the traditions of classical art. This affected, first of all, the activities of such organizations as the Association contemporary music(1923-1931) and the Russian Association of Proletarian Musicians (1924-1932).
The Association of Contemporary Music (ACM), motley and heterogeneous in composition, united most of the old musical intelligentsia and the most "left" minded youth. The composers included in it created a number of serious and interesting works; it did not have a clearly expressed ideological platform.
The song and choral creativity of young composers A. Davidenko, M. Koval, V. Bely, N. Chemberdzhi and others, closely associated with folk song traditions, developed successfully. The most striking examples of the new style were the songs and choirs of A. Davidenko “At the tenth verst”, “The street is waving”, “Budyonny horse”, lyric songs M. Koval, songs by V. Bely, etc.
The first operas appeared on the themes of the civil war (“For Red Petrograd” by A. Gladkovsky and E. Prussak), historical and revolutionary ones (“Stepan Razin” by P. Triodin, “Son of the Sun” by S. Vasilenko, “Zagmuk” by A. Krein).
A major achievement was R. Gliere's ballet "The Red Poppy", in bright and emotional music which the composer for the first time in the history of this genre embodied the theme of friendship between peoples and revolutionary struggle.
Soviet symphonic music reflected the themes of modernity, revolution, civil war, the heroic revolutionary past (N. Myaskovsky's 5th and 6th symphonies, M. Gnesin's "Symphonic Monument 1905-1917", A. Krein's "Funeral Ode"). Works were created in the spirit of classical traditions, based on folk song material - the 8th symphony of N. Myaskovsky, "The Cossacks" by R. Glier, the 3rd symphony of A. Gedi-ke, "Mtsyri" by M. Ippolitov-Ivanov. D. Shostakovich's talented 1st symphony quickly won world fame. A number of works with pronounced modernist tendencies appear - "The Plant" by A. Mosolov, "Tales of the Plaster Buddha" by L. Knipper, etc.
Musical culture of the 30s.
In 1932 the Union was organized Soviet composers, which marked the beginning of the "unification of musicians based on the method of socialist realism."
Gets a huge boost song creativity. The genre of mass song becomes a laboratory of new means of melodic expression, and the process of "song renewal" covers all types of music - opera, symphony, cantata-oratorio, chamber, instrumental. The themes of the songs are diverse, as are their melodies. Among the works of the song genre, especially stand out at this time fighting songs A. Alexandrov, I. Dunayevsky's songs with their sonorous fun, youthful energy, bright lyrics (such as "Song of the Motherland", "Song of Kakhovka", "March of Merry Guys", etc.), original songs of V. Zakharov, dedicated to the new life of the collective farm village (“Along the village”, “And who knows”, “Seeing him off”), the songs of the Pokrass brothers (“If there is war tomorrow”, “Konarmeyskaya”), M. Blanter (“Katyusha”, etc.), S. Katz, K. Listov, B. Mokrousov, V. Solovyov-Sedogo.
The song genre developed in close collaboration between composers and poets M. Isakovsky, V. Lebedev-Kumach, V. Gusev, A. Surkov and others. The appearance of sound films contributed to the wide popularity of Soviet songs.
Opera House in the 30s. enriched with works on a modern theme. Operas by I. Dzerzhinsky "Quiet Flows the Don" and "Virgin Soil Upturned" were distinguished by a bright melodic beginning, a realistic characterization of the characters. The final chorus "From Edge to Edge" from "Quiet Don" has become one of the most popular popular songs. T. Khrennikov's opera Into the Storm is also filled with dramatic characteristics, original melody, and expressive folk choirs.
Elements of French music received an interesting refraction in D. Kabalevsky's opera Cola Breugnon, marked by great professional skill and subtlety of musical characteristics.
S. Prokofiev's opera "Semyon Kotko" was characterized by the rejection of mass song and the predominance of recitative.
Various trends in the work of Soviet composers began in 1935-1939. the subject of discussions about the ways of development of operatic art.
Composers who worked in the genre of operetta also turned to the modern theme - I. Dunaevsky, M. Blanter, B. Alexandrov.
IN ballet genre realistic tendencies were represented by such significant works as "The Flames of Paris" and "The Fountain of Bakhchisaray" by B. Asafiev, "Laurencia" by A. Crane, musical and choreographic tragedy by S. Prokofiev "Romeo and Juliet". The first national ballets appeared in Georgia, Belarus, and Ukraine.
In the 30s. the creativity of the largest Soviet symphonists of the older generation is flourishing, the talents of the young are becoming mature. N. Myaskovsky created 10 symphonies during this period (from the 12th to the 21st). S. Prokofiev writes the patriotic cantata "Alexander Nevsky", 2nd violin concerto, symphonic tale"Peter and the Wolf", D. Shostakovich - the 5th symphony, grandiose in concept and depth of content, as well as the 6th symphony, piano quintet, quartet, music for the film "Counter". Many significant works in the symphonic genre were devoted to historical, revolutionary and heroic themes: D. Kabalevsky's 2nd symphony, Y. Shaporin's symphony-cantata "On the Kulikovo Field". A valuable contribution to realistic music was made by A. Khachaturian (1st symphony, piano and violin concertos, ballet "Gayane"). Major symphonic works were also written by other composers, including composers from the Soviet national republics.
Performing arts have risen to great heights. Outstanding vocalists A. Nezhdanova, A. Pirogov, N. Obukhova, M. Stepanova, I. Patorzhinsky were awarded the title of People's Artist of the USSR. Young Soviet musicians E. Gilels, D. Oistrakh, J. Flier, J. Zak won first prizes at international competitions in Warsaw, Vienna/Brussels. The names of G. Ulanova, M. Semenova, O. Lepeshinskaya, V. Chabukiani became the pride of the Soviet and world choreographic art. Large state performing groups were created - State Symphony Orchestra, State Dance Ensemble, State choir THE USSR.
The culture of the Soviet and post-Soviet period is a bright large-scale coil of the Russian heritage. The events of 1917 became a reference point in the development of a new way of life, the formation of a new way of thinking. The mood of society in the late XIX - early XX centuries. resulted in the October Revolution, a turning point in the history of the country. Now she was waiting for a new future with its own ideals and goals. Art, which in a sense is a mirror of the era, has also become a tool for putting into practice the tenets of the new regime. Unlike other types of artistic creativity, painting, which is forming and shaping a person’s thought, penetrated people’s consciousness in the most accurate and direct way. On the other side pictorial art least of all obeyed the propaganda function and reflected the experiences of the people, their dreams and, above all, the spirit of the times.
Russian avant-garde
The new art did not completely avoid the old traditions. Painting, in the first post-revolutionary years, absorbed the influence of the futurists and the avant-garde in general. The avant-garde, with its contempt for the traditions of the past, which was so close to the destructive ideas of the revolution, found adherents in the face of young artists. In parallel with these trends in the visual arts, realistic tendencies developed, which gave life to critical realism 19th century This bipolarity, ripening at the time of the change of eras, made the life of the artist of that time especially stressful. The two paths that emerged in post-revolutionary painting, although they were opposites, nevertheless, we can observe the influence of the avant-garde on the work of realistic artists. Realism itself in those years was diverse. Works of this style have a symbolic, agitational and even romantic appearance. Absolutely accurately conveys in symbolic form a grandiose change in the life of the country, the work of B.M. Kustodiev - "Bolshevik" and, filled with pathetic tragedy and uncontrollable jubilation, "New Planet" by K.F. Yuon.
Painting by P.N. Filonov, with his special creative method - "analytical realism" - is a fusion of two contrasting artistic movements, which we can see in the example of a cycle with a propaganda title and meaning "Entering the world's heyday".
P.N. Filonov Ships from the cycle Entering the World Heyday. 1919 GTG
The unquestioning nature of universal human values, unshakable even in such troubled times, is expressed by the image of the beautiful “Petrograd Madonna” (official name “1918 in Petrograd”) by K.S. Petrov-Vodkin.
A positive attitude to revolutionary events infects the bright and sunny, airy work of the landscape painter A.A. Rylov. The landscape “Sunset”, in which the artist expressed the premonition of the fire of the revolution, which will flare up from the growing flame of the doomsday fire over the past era, is one of the inspiring symbols of this time.
Together with the symbolic images that organize the uplift of the national spirit and carry along, like an obsession, there was also a trend in realistic painting, with a craving for a concrete transfer of reality.
To this day, the works of this period keep a spark of rebellion that can declare itself within each of us. Many works not endowed with such qualities or contrary to them were destroyed or forgotten, and will never be presented to our eyes.
The avant-garde forever leaves its mark on realistic painting, but a period of intensive development of the direction of realism begins.
The time of artistic associations
The 1920s is the time of creating a new world on the ruins left by the Civil War. For art, this is a period in which various creative associations launched their activities in full force. Their principles were partly shaped by early artistic groupings. The Association of Artists of the Revolution (1922 - AHRR, 1928 - AHRR), personally carried out the orders of the state. Under the slogan of "heroic realism", the artists who were part of it documented in their works the life and life of a person - the brainchild of the revolution, in various genres of painting. The main representatives of the AHRR were I.I. Brodsky, who absorbed the realistic influences of I.E. Repin, who worked in the historical-revolutionary genre and created a whole series of works depicting V.I. Lenin, E.M. Cheptsov is a master of everyday genre, M.B. Grekov, who painted battle scenes in a rather impressionistic madder. All these masters were the founders of the genres in which they performed most of their works. Among them, the canvas "Lenin in Smolny" stands out, in which I.I. Brodsky in the most direct and sincere form conveyed the image of the leader.
In the painting "Meeting of a member cell" E.I. Cheptsov very reliably, without artificiality depicts the events that took place in the life of the people.
A magnificent joyful, noisy image filled with stormy movement and victory celebration is created by M.B. Grekov in the composition "Trumpeters of the First Cavalry Army".
The idea of a new person, a new image of a person is expressed by the trends emerging in the portrait genre, the brightest masters of which were S.V. Malyutin and G.G. Ryazhsky. In the portrait of the writer-fighter Dmitry Furmanov, S.V. Malyutin shows a man of the old world who managed to fit into new world. A new trend is declaring itself, which originated in the work of N.A. Kasatkina and developed to the highest extent in the female images of G.G. Ryazhsky - "Delegate", "Chairwoman", in which the personal beginning is erased and the type of person created by the new world is established.
An absolutely accurate impression is formed about the development of the landscape genre at the sight of the work of the advanced landscape painter B.N. Yakovleva - "Transport is getting better."
B.N. Yakovlev Transport is getting better. 1923
This genre depicts a renewing country, the normalization of all spheres of life. During these years on foreground an industrial landscape comes out, the images of which become symbols of creation.
The Society of Easel Painters (1925) is the next art association in this period. Here the artist sought to convey the spirit of modernity, the type of a new person, resorting to a more distant transmission of images due to the minimum number means of expression. In the works of "Ostovtsev" the theme of sports is often demonstrated. Their painting is filled with dynamics and expression, which can be seen in the works of A.A. Deineka "Defense of Petrograd", Yu.P. Pimenov "Football", etc.
The members of another well-known association - the "Four Arts" - chose the expressiveness of the image, due to the concise and constructive form, as well as a special attitude to its color richness, as the basis of their artistic creativity. The most memorable representative of the association is K.S. Petrov-Vodkin and one of his most outstanding works of this period - "Death of the Commissar", which, through a special pictorial language, reveals a deep symbolic image, a symbol of the struggle for a better life.
From the composition of the "Four Arts" P.V. Kuznetsov, works dedicated to the East.
The last major artistic association of this period is the Society of Moscow Artists (1928), which differs from the rest in the manner of energetic modeling of volumes, attention to chiaroscuro and plastic expressiveness of form. Almost all representatives were members of the "Tambourine Volt" - adherents of futurism - which greatly affected their work. The works of P.P. Konchalovsky, who worked in different genres. For example, portraits of his wife O.V. Konchalovskaya convey the specifics of not only the author's hand, but also the painting of the entire association.
On April 23, 1932, all art associations were dissolved by the Decree "On the Restructuring of Literary and Artistic Organizations" and the Union of Artists of the USSR was created. Creativity has fallen into the sinister fetters of rigid ideologization. The artist's freedom of expression, the basis of the creative process, was violated. Despite such a breakdown, the artists previously united in communities continued their activities, but new figures occupied the leading role in the pictorial environment.
B.V. Ioganson was influenced by I.E. Repin and V.I. Surikov, his canvases show a compositional search and interesting possibilities in the color scheme, but the author's paintings are marked by an excessive satirical attitude, inappropriate in such a naturalistic manner, which we can observe in the example of the painting "At the Old Ural Plant".
A.A. Deineka does not remain aloof from the "official" line of art. He is still true to his artistic principles. Now he continues to work in genre themes, besides, he paints portraits and landscapes. The painting "Future Pilots" shows well his painting during this period: romantic, light.
The artist creates a large number of works on a sports theme. From this period, his watercolors, written after 1935, remained.
Painting of the 1930s represents a fictional world, the illusion of a bright and festive life. It was easiest for the artist to remain sincere in the genre of landscape. The genre of still life is developing.
The portrait is also subject to intensive development. P.P. Konchalovsky writes a series of cultural figures ("V. Sofronitsky at the piano"). The works of M.V. Nesterov, who absorbed the influence of V.A. Serov, show a person as a creator, the essence of whose life is a creative search. This is how we see the portraits of the sculptor I.D. Shadr and surgeon S.S. Yudin.
P.D. Korin continues the portrait tradition of the previous artist, but his pictorial style consists in conveying the rigidity of the form, a sharper, more expressive silhouette and harsh coloring. In general, the theme of the creative intelligentsia is of great importance in the portrait.
An artist at war
With the advent of the Great Patriotic War, artists begin to take an active part in hostilities. Due to the direct unity with the events, works appeared in the early years, the essence of which is a fixation of what is happening, a "picturesque sketch". Often such paintings lacked depth, but their transmission expressed the artist's completely sincere attitude, the height of moral pathos. The genre of the portrait comes to relative prosperity. Artists, seeing and experiencing the destructive influence of the war, admire its heroes - people from the people, persistent and noble in spirit, who showed the highest humanistic qualities. Such trends resulted in ceremonial portraits: “Portrait of Marshal G.K. Zhukov" by P.D. Korina, cheerful faces from P.P. Konchalovsky. Of great importance are the portraits of the intelligentsia M.S. Saryan, created during the war years - this is the image of the academician "I.A. Orbeli”, writer “M.S. Shahinyan" and others.
From 1940 to 1945, the landscape and everyday genre also developed, which A.A. Plastov. "The fascist has flown" conveys the tragedy of the life of this period.
The psychologism of the landscape here fills the work even more with sadness and silence of the human soul, only the howl of a devoted friend cuts through the wind of confusion. In the end, the meaning of the landscape is rethought and begins to embody the harsh image of wartime.
Narrative paintings stand out separately, for example, "The Mother of the Partisan" by S.V. Gerasimov, which is characterized by a refusal to glorify the image.
Historical painting timely creates images of national heroes of the past. One of these unshakable and inspiring images is "Alexander Nevsky" by P.D. Korin, personifying the unconquered proud spirit of the people. In this genre, by the end of the war, a trend of simulated dramaturgy is outlined.
The theme of war in painting
In the painting of the post-war period, ser. 1940 - con. In the 1950s, the leading position in painting was occupied by the theme of war, as a moral and physical test, from which the Soviet people emerged victorious. Historical-revolutionary, historical genres are developing. The main theme of the everyday genre is peaceful labor, which was dreamed of for many war years. The canvases of this genre are permeated with cheerfulness and happiness. The artistic language of the everyday genre becomes narrative and gravitates toward lifelikeness. In the last years of this period, the landscape also undergoes changes. The life of the region is revived in it, the connection between man and nature is strengthened again, an atmosphere of tranquility appears. Love for nature is also sung in still life. Interesting development receives a portrait in the work of various artists, which is characterized by the transfer of the individual. One of the outstanding works of this period were: "Letter from the front" by A.I. Laktionov, a work similar to a window into a radiant world;
the composition "Rest after the battle", in which Yu.M. Neprintsev achieves the same vitality of the image as A.I. Laktionov;
work by A.A. Mylnikova "On Peaceful Fields", joyfully rejoicing at the end of the war and the reunification of man and labor;
original landscape image of G.G. Nissky - "Over the snows", etc.
Severe style to replace socialist realism
Art 1960-1980s is a new stage. A new "severe style" is being developed, the task of which was to recreate reality without everything that deprives the work of depth and expressiveness and has a detrimental effect on creative manifestations. He was characterized by conciseness and generalization of the artistic image. Artists of this style glorified the heroic beginning of harsh working days, which was created by a special emotional structure of the picture. " Severe style"was a definite step towards the democratization of society. The portrait became the main genre for which the adherents of the style worked, the group portrait, the everyday genre, the historical and historical-revolutionary genre are also developing. V.E. Popkov, who wrote a lot of self-portraits-paintings, V. I. Ivanov, a supporter of a group portrait, G. M. Korzhev, who created historical paintings. .A. and PA Smolin, "Father's Overcoat" by VE Popkov In the genre of landscape there is an interest in northern nature.
Symbolism of the era of stagnation
In the 1970-1980s. a new generation of artists is being formed, whose art has influenced art to some extent today. They are characterized by symbolic language, theatrical entertainment. Their painting is quite artistic and virtuoso. The main representatives of this generation are T.G. Nazarenko ("Pugachev"),
whose favorite theme was a holiday and a masquerade, A.G. Sitnikov, who uses metaphor and parable as a form of plastic language, N.I. Nesterova, creator of ambiguous paintings ("The Last Supper"), I.L. Lubennikov, N.N. Smirnov.
The Last Supper. N.I. Nesterov. 1989
Thus, this time appears in its variety of styles and diversity as the final, formative link of today's fine arts.
Our epoch has discovered a huge wealth of the picturesque heritage of previous generations. A modern artist is not limited by almost any framework that was defining, and sometimes hostile to the development of fine arts. Some of today's artists are trying to adhere to the principles of the Soviet realistic school, someone finds himself in other styles and directions. The tendencies of conceptual art, which are ambiguously perceived by society, are very popular. The breadth of artistic and expressive means and ideals that the past has provided us must be rethought and serve as the basis for new creative paths and the creation of a new image.
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The beginning of the 1930s was marked by the appearance of the most important party documents, stimulating the unification and development of creative forces. The resolution of the Central Committee of the Communist Party of April 23, 1932 had a beneficial effect on musical culture.
The Russian Association of Proletarian Musicians is liquidated (the Association of Contemporary Music actually collapsed earlier), ways are outlined for the further development of realistic music, and the democratic traditions of Russian classical musical art are affirmed.
In 1932, the Union of Soviet Composers was organized, which laid the foundation for an association of musicians based on the method of socialist realism. Soviet musical creativity has moved to a new stage.
Songwriting takes on a huge scale. The genre of mass song becomes a laboratory of new means of melodic expression, and the process of "song renewal" covers all types of music - opera, symphony, cantata-no-oratorio, chamber, instrumental. The themes of the songs are diverse, as are their melodies.
Among the works of the song genre, the combat songs of A. Alexandrov, the songs of I. Dunaevsky with their ringing fun, youthful energy, bright lyrics (such as the world-famous "Song of the Motherland", "Song of Kakhovka", "March of the Merry guys ", etc.), original songs by V. Zakharov, dedicated to the new life of the collective farm village ("Along the village", "And who knows", "Seeing him off"), songs of the Pokrass brothers ("If there is war tomorrow", "Konarmeyskaya") , M. Blanter ("Katyusha" and others), S. Katz, K. Listov, B. Mokrousov, V. Soloviev-Sedogo.
The song genre developed in close collaboration between composers and poets M. Isakovsky, V. Lebedev-Kumach, V. Gusev, A. Surkov and others. The emergence of sound films contributed to the wide popularity of Soviet songs. Having left the screen, they have long survived the films for which they were written.
The opera house in the 30s was enriched with realistic works on a modern theme, accessible in language, truthful in content, although not always free from shortcomings (weak dramaturgy, incomplete use of broad vocal forms, developed ensembles).
Operas by I. Dzerzhinsky "Quiet Flows the Don" and "Virgin Soil Upturned" were distinguished by a bright melodic beginning, a realistic characterization of the characters. The final chorus "From Edge to Edge" from "Quiet Don" has become one of the most popular popular songs. T. Khrennikov's opera Into the Storm is also filled with dramatic characteristics, original melody, and expressive folk choirs.
An interesting refraction received elements of the French folk music in D. Kabalevsky's opera "Cola Breugnon", marked by great professional skill, subtlety of musical characteristics.
S. Prokofiev's opera "Semyon Kotko" was characterized by the rejection of mass song and the predominance of recitative.
Various trends in the work of Soviet composers became in 1935-1939. the subject of discussions about the ways of development of operatic art.
Composers who worked in the genre of operetta also turned to the modern theme - I. Dunaevsky, M. Blanter, B. Aleksandrov.
In the ballet genre, realistic tendencies were represented by such significant works as The Flames of Paris and The Fountain of Bakhchisarai by B. Asafiev, Laurencia by A. Crane, musical and choreographic tragedy by S. Prokofiev Romeo and Juliet. The first national ballets appeared in Georgia, Belarus, and Ukraine.
Successes in the genre of symphonic music were also associated with the penetration of the song-melodic principle, the democratization of images, filling them with concrete vital content, the strengthening of programming tendencies, the appeal to the song and dance melodies of the peoples of the USSR.
In the 1930s, the work of the largest Soviet symphonists of the older generation flourished, and the talents of the young became mature. In symphonic music, realistic tendencies are intensifying, the themes of modernity are reflected. N. Myaskovsky created ten symphonies during this period (from the 12th to the 21st). S. Prokofiev writes the patriotic cantata "Alexander Nevsky", the 2nd violin concerto, the symphonic fairy tale "Peter and the Wolf", D. Shostakovich - the 5th symphony, grandiose in concept and depth of content, as well as the 6th symphony, piano quintet , quartet, music for the film "Counter".
Many significant works in the symphonic genre were devoted to historical, revolutionary and heroic themes: D. Kabalevsky's 2nd symphony, Y. Shaporin's symphony-cantata "On the Kulikovo Field". A valuable contribution to realistic music was made by A. Khachaturian (1st symphony, piano and violin concertos, ballet "Gayane").
Major symphonic works were also written by other composers, including composers from the Soviet national republics.
Performing arts have risen to great heights. Outstanding vocalists A. Nezhdanova, A. Pirogov, N. Obukhova, M. Stepanova, I. Patorzhinsky and others were awarded the title of People's Artist of the USSR.
Young Soviet musicians E. Gilels, D. Oistrakh, J. Flier, J. Zak won first prizes at international competitions in Warsaw, Vienna, and Brussels. The names of G. Ulanova, M. Semenova, 0. Lepeshinskaya, V. Chabukiani became the pride of the Soviet and world choreographic art.
Large state performing groups were created - the State Symphony Orchestra, the State Dance Ensemble, the State Choir of the USSR.
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 a conductor of all ideas and decisions of the Soviet state and the Communist Party, as the guiding 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 more older generation rethinks a lot in the past history of our country and is also interested in seemingly very familiar works of Soviet painting, sculpture, architecture.
Art of the period of the October Revolution, the Civil War and the 20s - 30s.
In the first years after the revolution and during the years of the civil war, a huge role was played by 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 throughout the country of monuments to 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 Great Patriotic War, Soviet art resolutely refuted the saying that "when the guns 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 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 telling about the exploits of the Soviet people, and 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 of 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.
The art of the post-war years is also characterized by other features that primarily relate to its content. During these years, the interest of artists to inner world person. Hence the attention that painters, sculptors, and graphic artists pay to portraits and genre compositions, which make it possible to imagine people in a variety of 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 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, the fine arts of the Soviet period continued to develop in the same direction.
ART OF THE 30S
Union of Artists
On April 23, 1932, the Central Committee of the party adopted a resolution "On the restructuring of literary and artistic organizations”, which eliminated all artistic groups that existed in the 20s and created a single organization -Union of Artists of the USSR.
social realism method
On First All-Union Congress Soviet writers in 1934 A.M. Gorky defined "method of socialist realism”, implying the creative use of the classical heritage of world culture, the connection of art with modernity, the active participation of art in modern life, its image from the standpoint of “socialist humanism". Continuing the humanistic traditions of the previous art, combining them with the new,socialist content, "socialist realism" was supposed to bea new type of artistic consciousness.
official art
At the same time, it was assumed thatmeans of expression can be the most diverseeven in the interpretation of the same topic. So, anyway, it was said. In fact, it was for many decades to come.
officially authorized from above,
« ideologically sustained" (which is the main thing),
tending towards naturalismthe only possible direction in art, a kind of diamat in science,
prohibiting all dissentartistic consciousness,
at the same time with a clearly debuggedmechanism of state orders, planned (for artists, pleasing party)exhibitions and awards. (314)
The themes of art in all types and genres seemed to suggest diversity: fromheroics of the revolution And civil war before work days prompted and put forward by life itself. Portrait genre should have stayedone of the leading, because the realistic artalways and above allhuman research, his soul, his psychology.
Such was this prettyvague in words and really tough program. How she was embodied - showednext decade. Of course, the same theme can be developed and revealed in different ways, as
in pictures Petrov-Vodkin and Deineka,
landscapes Rylov and Nissky,
portraits Konchalovsky and Korina,
in graphics Lebedev and Konashevich,
in sculpture by Mukhina and Shadr,
as in the future, without deviating frombasic realistic principlesvisions of nature, artists of our time have worked and work differently:V. Popkov, Y. Krestovsky, V. Ivanov, V. Tyulenev, G. Egoshin and others (315)
Ideologization of art
But the "method of socialist realism", unanimously adopted at the congress "engineers human souls » in 1934, completelydid not expect any freedom. Vice versa, artistic creativity more and more hardideologized.As one researcher, V. Piskunov, wrote (the author spoke about poets, but this fully applies to artists), “in one strokebossy penentire generations were culledand periods", and justthe best of the masters"did not deign to get intosocialist realists". This should always be remembered when reading the national history of the Soviet period.
Art exhibitions
In the 1930s, great efforts were made to formnational art schools, to create multinational Soviet art". Decades national art and republican exhibitions, participation of representatives of different republics in thematic art exhibitions:
"15 years of the Red Army",
"20 years of the Red Army",
"The Industry of Socialism" (1937),
"The Best Works of Soviet Art" (1940),
in international exhibitions in Paris (1937) and New York (1939),
in the organization of the All-Union Agricultural Exhibition (1939 - 1940)
one of the forms of cultural communication between the peoples of the USSR in these years.
It was especially bigexhibition "Industry of socialism". More than 700 artists Moscow, Leningrad and other cities of the RSFSR and union republics; along with already mature masters at the exhibitionyouth debuted. The exhibited works were dedicated tothe best people in the country, drummers of the five-year plans, new buildings of the Soviet industry ", which later became aboutessential componentany large-scaleofficial exhibition.
Academy of Arts
In 1932, closed in the early years of the revolution were recreatedAll-Russian Academy of Arts and later - Institute of Painting, Sculpture and Architecture.
trampling on democratic principles
It should be remembered that the 1930s were one of themost controversialand tragic periods both in the history of our state and in its culture and art.Trampling of humanistic democratic principlesin the life of society was reflected in the creative atmosphere. The basis of the foundations of the creative process was violated -artist's freedom of expression.
Art the role of "explainer"
Behind the increasingly rigid statementthe only style and way of life, with the exclusion from reality of any manifestation of freedom of choice, more and morea unified art form was also decreed. Since art was givenrole of "explainer"» directives in a visual form, it naturally turned into artillustrated and straightforward("understandable "), losing allcompleteness, complexity and versatilityexpressive means. (316)
Denying the right to freedom of the spirit
Despite the demagogicchanting of a simple worker- "builder of a bright future", denied the very human right
to the freedom of the spirit,
to your vision of the world,
finally, on doubt - necessary incentive to improvepersonality to creativity.
For what can be more detrimental to creativity than plantingdogmatically uniform forms of glorificationone unrighteously exalted over a multimillion peopleshape or multiple shapes, or one and false - ideas ? This led to the fact that the paths and fates of artistsmore and more dispersed.
Two Ways of Artists
Some, as it were - or in reality -sank into oblivion, others have become " leading artists of the era» 30s, the fate of some was silence, obscurity and tragic oblivion, the inevitable falsehood and Deliberate lies accompanied the glory of others.
official art
Countless works appeared, like paintings by V. Efanov and G. Shegal about “leader, teacher and friend”, “presiding” at congresses, countlessportraits of the "leader of the peoples". Falsely optimistically depicted the life of the village in large festive canvases
S. Gerasimov. Collective farm holiday. 1937
A. Plastov. Holiday in the village. 1937
All these and similar pictures were issuedfor the true "truth of life". They were full of that cheerfulness, which is even remotelydidn't match the truth, but Gorky is precisely “historical optimismconsidered one of the definingproperties of "socialist realism».
Falsification of history, humanistic ideas led to psychologicalbreakdown of the creative personality. And, in turn, the artist, creating false image , fake but builton the principles of visual verisimilitude, forced believe in himthat were full sincere (and in the 1930s, especially pronounced) desireto everyone's happinessworking humanity. I think this is the greatestSoviet tragedy. (317)
unofficial art
At the same time, in the art of the 30s, one can name quite a few names of artists who worked interestingly: Petrov-Vodkin, Konchalovsky, Saryan, Favorsky, Korin. The most important painting in Korin's life Rus' leaving » so it didn't happen", and the reason for this, as it seems to us, isartistic atmosphere those years.
In Leningrad since 1925 she workedschool-workshop Filonov. Under his leadership, the design of the famous edition was executed.Finnish epic "Kalevala"», scenery for "Inspector". But in the 30s the workshop is empty. The disciples leave the master. An exhibition of works by Filonov, prepared back in 1930 at the State Russian Museumnever opened. She was destined to take place only after 58 years.
2. Painting
BORIS VLADIMIROVICH IOGANSON (1893 - 1973)
Leading become other artists. Among them, the main place belongs to B.V. Ioganson (1893 - 1973), back in the 20s, who wrote such works as
Rabfak goes (Vuzovtsy). 1928
Soviet court. 1928
nodal railroad station in 1919. 1928
who presented a painting at the 1933 exhibition "15 Years of the Red Army"
Interrogation of communists. 1933
and at the 1937 exhibition "Industry of Socialism" - a large canvas
At the old Ural factory. 1937
In both works, Ioganson seems to be strivingfollow traditions, laid down by Russian artists, primarilyRepin and Surikov. Indeed, the artist knows how to depict "conflict situations», push the characters. At general splendor» endless « collective farm holidays» and countless images «leader, teacher and friend" This already the dignity of a master. It affects primarilycompositional solution.
In "Communist Interrogation"collision of two different forces, prisoners and enemies, in the "Ural Demidov" (the second name of the painting "At the old Ural factory") -worker and breeder, whose views, at the will of the artist, intersect just like the viewsred-bearded archer and Peterin Surikov's "Morning of the Streltsy Execution". Myself work process - Ioganson walked from descriptiveness, fragmentation, verbosity And congestioncompositions to a more concise and strict solution, where the entire dramatic conflict is built on a collisiontwo hostile worlds, is traditional. Evenlocation replacement female figure - in search of a more typical situation from the first plan in the early version to the male one - in the final one (“Interrogation of the Communists”) is somewhat reminiscent ofsearch for a solution by Repin in "We Didn't Wait".
Big potentialcolor possibilitiesshown in these pictures, especiallyin the first, where the contrasts of chiaroscuro, sharp flashes of deep blue, brown-red, white enhancethe mood of the tragedy of what is happening. But in the end - a complete loss.
Inappropriate satire
For the artist changes simple taste because he refers to satire, caricature, so out of place in a painting.
If the communists- even in the hands of the enemyadvancing fearlessly on him;
if "White Guards"then certainly tantrums (upturned shoulder, disgustingly red nape, raised whip, etc.);
if the breeder hate his eyes, but not sure
if a worker full of superiority, dignity, anger and inner strength.
Falsity in Johanson's works
And all this is deliberateexcessive, overdone- and from this it loses its meaning andbecomes false. (Although there were actually many such people and such situations.)
as historical revolutionarycanvases by Brodsky,
How portraits of Ryazhsky,
these Johanson's worksexpressively illustratedevelopment domestic art and it is in this sense (and not the traditional one) that one can really consider "classics of Soviet art».
ALEXANDER ALEKSANDROVICH DEINEKA (1899 1969)
In the 1930s, Deineka worked a lot.
laconic details,
silhouette expressiveness,
discreet linearand color rhythm
main principles of his art. Former "Ostovtsy" remaintrue to their traditions. The subject matter is becoming more diverse.genre, portrait, landscape. But no matter what they write, signs of the times appear in everything.
For the exhibition "20 Years of the Red Army" Deineka wrote one of the most poetic and romantic works
Future pilots. 1938
three nude boyish figures(depicted from the back), on the seashore, lookingon a hydroplane in the blue sky, its future conquerors. This romanticismexpressive and colorful- combination
dark blue water
gray blue skies,
sunlight flooding the embankment.
Viewer the faces of the boys are not visible, but the whole system of the picture conveys the feelingthirst for life, spiritual openness. Many paintings by Deineka of these yearsdedicated to sports.
Deineka's watercolors
The many-sided world of Europe and the New World has opened in his watercolors written by him after a trip abroad in 1935:
Tuileries. 1935
Street in Rome. 1935
and others, of course, from the "position" Soviet man who has his own pride.
Officially established artists created an illusory image of a jubilantfestive life of the 30s, so untrue. So, the feeling of a new life under construction is conveyed by Yu. Pimenov in the picture
Y. Pimenov. New Moscow. 1937
Impressionist tendenciesare vividly felt in immediacy
impression, skillfully conveyed as iffrom the point of view of a woman driving, in the wealth of light and air, in composition dynamism. In the bright festive scalealso highlightsimage of new Moscow.
Remarkable artists
During these years, suchwonderful artists, as N. Krymov (1884-1958), A. Kuprin , each of which, with its own individual means, createdepic majestic image of the Motherland
A. Kuprin. River. 1929
A. Kuprin. Summer day in Tarusa. 1939/40
A. Kuprin. Tiam Valley. 1937
Picturesquely generous, romantic many Crimean and Central Russian landscapes A. Lentulova , full of life and his still lifes
A. Lentulov. Still life with cabbage. 1940
marvel cheerfulness of many worksartists in these terrible years. (320)
With the whole pictorial and plastic structure of the canvas, he sought to expressthe spirit of modernity, tense rhythms new life G. Nyssky , depicting battleships standing in the roadstead, sailboats flying in the open sea, lines of railway tracks going into the distance
G. Nissky. On the way. 1933
It can be said that, in comparison with the 20s, in the 30s the geographiclandscape as a genre. The artists are coming to the Urals, to Siberia, on Far North, to Crimea. Motherland - this vast territory of a multinational state - givesrich impressions for painters, in the landscapes of which one idea prevails:the nature of our country, presented by the masters in all its generosity and whimsical variability of lighting at different times of the day and year, is not just a symbol of beauty native land, but also time symbol one way or another, it is renewed by the labor of millions of people. The artists of the national republics lovingly capture the signs of the new in their country.
MARTIROS SERGEYEVICH SARYAN
M. Saryan paints beautiful landscapes, portraits
Portrait of architect A. Tamanyan
Portrait of the poet A. Isahakyan
and still lifes. Green valleys, dazzling snowy mountains of Armenia, its ancient temples and new construction sites invading its harsh landscapes
Alaverdi copper smelter. 1935
Vintage. 1937
Flowers and fruits. 1939
magnificent, illuminated by the bright talent of a born painter, his amazing decorative generosity.
Landscapes testify to the new face of ArmeniaG. Gyurtszhyan, F. Terlemezyan, the image of the new Georgia is given in the canvasesA. Tsimakuridze, V. Japaridze, E. Akhvlediani.
PETER PETROVICH KONCHALOVSKY
The portrait developed intensively in the 1930s. P.P. Konchalovsky wrote a whole series of beautiful portraits of cultural figures:
V. Sofronitsky at the piano. 1932
Portrait of S. Prokofiev. 1934
Portrait of V. Meyerhold. 1938
In the latter, as always with Konchalovsky,color open, sonorous, but it is given in contrast toMeyerhold's intense gazeand his posture, which brings something to the image disturbing . This is not surprising: before his arrest and deathfew days left. (321)
MIKHAIL VASILIEVICH NESTEROV
After almost 15 years of silenceM. Nesterov made a number of portraits of the Soviet intelligentsia
Portrait of artists P.D. and A.D. Korinykh. 1930
Portrait of I.P. Pavlova. 1935
Portrait of a surgeon Yudin. 1935
Portrait of V.I. Mukhina. 1940
Whoever portrayed Nesterov,
be it Pavlov with his youthful enthusiasm, strong-willed, collected, inspired, concise andexpressive hand gesturewhich only sharper emphasizes his irrepressible, dynamic, "explosive" nature;
sculptor Shadr standing in deep thoughtat the giant marble torso;
surgeon Lee Yudin
or artist Kruglikova, -
He emphasizes first of all that these people are creators and the meaning of their life is increative pursuitsin art or science. In the portraits of Nesterov there areclassical measure, simplicity and clarity, they are performed in the best traditionsRussian painting, primarily V.A. Serov.
PAVEL DMITRIEVICH KORIN (1892-1971)
Nesterov’s student P. D. Korin (1892-1971) walks along the path of Nesterov in the portrait, he also emphasizesintelligence, human complexity, but his writing style is different,
the shape is tougher, clearer,
sharper silhouette,
more expressive drawing
harsher color.
K. Magalashvili
Interest in the creative intelligentsia as early as the 1920s was also shown byGeorgian artist K. Magalashvili
Portrait of the sculptor Y. Nikoladze, 1922,
Portrait of the painter Elena Akhvlediani, 1924,
Portrait of a pianist and. Orbeliani, 1925
In 1941 she writes
Portrait of the pianist V. Kuftina. 1941
S. Salamzade
Azerbaijani artist S. Salam-zade chooses the appearance of a working man as his theme
S. Salmzade. Portrait of cotton ginner Mayush Kerimova. 1938
3. Monumental painting
monumental art
The 30s were a certain stage in the developmentall types of monumental art. (322)
Opening All-Union Agricultural Exhibition,
Moscow Canal,
construction subway in the capital,
clubs, palaces of culture, theaters, sanatoriums etc.,
participation Soviet artists Vinternational exhibitionsbrought to life many works
monumental sculpture,
monumental painting,
arts and crafts.
The artists of Moscow, Leningrad, other cities of the RSFSR and the national republics, who preserved and creatively reworked the traditions and forms of national art, considered the mainproblems of art synthesis.
monumental painting
In monumental painting, the leading place belongs toA.A. Deineke, E.E Lansere.The latter was formed as an artist even before the revolution. In the 1930s he performed
murals in Kharkov, Tbilisi.
Painting of the restaurant hall of the Kazansky railway station in Moscow
Devoted to friendship and unity of peoples, talks about country's natural wealth.
Painting of the restaurant hall of the hotel "Moscow"
based on traditionItalian illusory plafond painting, especially the Venetian Tiepolo.
Monumental painting in the same years was alsoV. Favorsky, A. Goncharov, L. Bruni. In painting
Favorsky. Painting at the House of Models in Moscow. 1935 (graffito, not preserved)
Favorsky achievedsynthesis of architecture and paintingThis work had a huge impact on his students.
4. Sculpture
4.1 Monuments
Worked a lot in sculptureand old masters, who declared themselves in the early years of Soviet power, and young . It should be noted that in the 30s in all types and genres of sculpture - inportrait, statuary composition, relief- became noticeable gravitation towards idealization of nature. This was especially true in the monumental sculpture presented in competitions for numerous monuments. (323)
MATVEY GENRIKHOVICH MANIZER (1891 1966)
It is significant that incompetition for a monument to Chapaev(for the city of Samara) and Shevchenko (for Kharkov), the winner was M. Manizer, successoracademic schoolRussian sculpture with its attraction tonarrative and idealization.
Monument to V. I. Chapaev. Samara. 1932
Monument to T.G. Shevchenko. Kharkiv. 1935
In the monument to Shevchenko, Manizer presented the poet primarily as a wrestler,accuser of autocracy.
This idea is strengthened by the fact that his figure is opposedsad image of a farm worker, conditionally named later by the name of the heroine of his poem "Katerina"
Katerina.
(one of the 16 figures representing "stages of the struggle of the Ukrainian peoplefor your release). The monument is calculatedfor a round tripand placed at the entrance to the park (the author of the pedestal, architect I. Langbard).
In 1936-1939, Manizer executed (together with his students) a number of statues for the station of MoscowMetro "Ploshchad Revolyutsii"". This work can hardly be called successful, which was aggravated by the fact thatlimited space, low arches interfere with organic synthesisarchitecture and sculpture.
Lyrical sculpture
In the sculpture of a lyrical plan, skillfully modeled, deeply poetic, continues to work A. T. Matveev . Wonderful portrait works are created by Y. Nikoladze
I. Nikoladze. Portrait of G. Tabidze. 1939
I. Nikoladze. Bust of I. Chavchavadze. 1938
Subtle psychological or poignant images- in portrait sculpture S. Lebedeva
S. Lebedeva. Portrait of V. Chkalov. 1937 (Study, bronze)
On an independent creative way enter these yearsyoung sculptors. For them, problems are also paramount.synthesis of sculpture and architecture.
VERA IGNATIEVNA MUKHINA (1889 1853)
Of great importance for the development of Soviet monumental sculpture was the participation of the USSR ininternational exhibition"Art, Technology and Modern Life", hosted in Paris.Soviet pavilion was built according to project B.M. Iofana. sculptural group for him made V.I. Mukhina.
Back in 1922 - 1923, according to the plan of monumental propaganda, she performed a full passionate,violent movement figure, representing " the flame of revolution." (324)
Peasant woman. 1927
In 1927 she createdeasel sculpture of a peasant woman,
weighted and tightly knitted volumes,
laconic, expressive plasticity
which testify to the constant interest inmonumental generalized image.
In the portraits of the 1930s she found quite modern language realistic sculpture based on classical models.
Dr. A. A. Zamkov. 1935
Architect S.A. Castles. 1935
But most of all, the masters are interestedprinciples of synthesis of architecture and sculpture.
Worker and collective farmer. 1937
One of the original solutions was given by Mukhina in her work for the International Exhibition. Iofan building ended with a gigantic, raised33 m up with a pylonwhich is perfectly organiccrowned by a sculptural group.
They keep at arm's lengthup hand hammer and sickle. It was hard to find moreone-stop solutionthis topic than Mukhina found. From the sculptural group comesmighty movement, which creates a rapidrush of figures forward and upward. Expressively interpretedfolds of clothes and scarf. Ease, silver luster stainless steel, in which the sculpture is made, further enhancedynamic impression. Innovative sculptor Mukhina managed to embody in this workthe ideal of an era.
Working with Iofan
Mukhina's collaboration witharchitect Iofanled to the artistic unity of a simple,constructive-holistic architecture and plastically rich, laconic, complete sculptural forms. Moreover, the role of sculpture is prevalent here. Building,lined with marblewith stainless steel rods, in fact, only a pedestal for her, sculpture naturally completedvertical architectural rhythms, gave the building architectural perfection.This is one of the mostexpressive monuments, performed in accordance with the once conceived "plan of monumental propaganda". Delivered now on a low pedestal, He lost all its monumentality. (325)
decorative sculpture
During these years, the sculptor works a lotdecorative sculpture, and also completes Shadr's work on what he started in the 1930s
Shadr. Monument to A.M. Gorky. 1951
installed in Moscow in front of the Belorussky railway station.
4.2 Animal sculpture
VASILY ALEKSEEVICH VATAGIN (1883 1969)
In the 1930s, animalistic sculpture developed in an interesting way, where the names of two masters undoubtedly stand out - V. Vatagina who knows perfectly well not only the features, but also the psychology of animals, works a lot
in a tree
Himalayan bear. 1925
and bronze
Tiger. 1925
IVAN SEMENOVICH EFIMOV (1878 1959)
and I. Efimov, who performed his works inmost different materials more generalized, decorativethan Vatagin, and the endowing beastfeatures of anthropomorphism
Cat with a ball. 1935 (porcelain)
Rooster. 1932 (wrought copper).
The most precious part of the creativity of both - their drawings.
5. Graphics
Vladimir Andreevich Favorsky (1886 1964)
In the schedule of these years, the leading place continues to be occupied bybook illustrators. V.A. Favorsky , who himself works very intensively - woodcuts
Illustrations for "The Word of Igor's regiment»,
Illustrations for "Vita Nova" by Dante,
Illustrations for Shakespeare's Hamlet
leads a whole school of graphics. (326)
A. Goncharov with highly professional, deeply penetratingillustrations for Smolett and Shakespeareserves special attention among his students. In general, however, woodcut is pushed back tosecond plan lithograph, as well as drawing -charcoal and black watercolor.
Leningrad school
In the 1930s, a new leg was introduced into the art of woodcutsLeningrad school, in which there is more grace coming from"World of Art" traditions. These are the works of L. Khizhinsky who started his career in Ukraine,G. Epifanova, N. Vanderfleet, S. Mochalov, N. Alekseev, who died early . Masters of easel graphics, singers of the elegiac watercolor landscape wereV. Pakulin and N. Tyrsa, the rhythms of the new, industrial Leningrad capturewatercolors by N. Lapshin.
Georgy Semenovich Vereisky (1886 1962)
Since the mid-30s, he has been working almost exclusively in the technique of etching and lithography. G. Vereisky (more than 50 times he depictedactor V.P. Ershovseeking depthpsychological characteristics).
Konstantin Ivanovich Rudakov (1891 1949)
In the most various techniques and genresworked as a brilliant draftsman K. Rudakov (illustrations to Zola and Maupassant, easel graphic images of the life of Western Europe,portraits of contemporaries)
Portrait of the artist I.K. Wheel. 1936 (aqua.)
Dementy Alekseevich Shmarinov (1907 1995)
A galaxy of young graphic artists performs with illustrations for Russian and Soviet classics. D. Shmarinov , a student of D. Kardovsky, makes full severe,tragic feeling
Illustrations for "Crime and Punishment" by Dostoevsky. 1935 - 1936
beautiful and simple drawings
Drawings for Belkin's Tales. 1937
A series of drawings for "Peter I » A. Tolstoy. 1940
Illustrations for "A Hero of Our Time" by M.Yu. Lermontov. 1939 - 1940
Drawings for "Peter I ”, in fact, entire historical compositions with vivid characters, with an excellent transfer in a sketchy manner of thethe spirit of the Peter's era. Shmarinov avoided many everyday details to give the series a high epic style. (327)
Evgeny Adolfovich Kibrik (1906 - 1978)
E.A. Kibrik (1906 - 1978) performs full of captivating simplicity and subtle feeling of the Gallic spirit
Illustrations for "Cola Breugnon". 1936
Illustrations for The Legend of Ulenspiegel by Charles de Coster. 1938
Kibrik later wrote: “All my life I have strived to embody one image. This is an imagekind, brave, merry man . He loves life and people. He fights evil. To him want to imitate. This image appeared in my worknow in the face of a Burgundian, now a Fleming, now a Ukrainian, now a Russian» (4, p. 15). (328)
Sergei Vasilyevich Gerasimov (1885 1964)
S.V. Gerasimov in black watercolorscreates temperamental and strong characters of heroes
Illustrations for the story "The Artamonov Case" by A.M. Gorky. 1938 1939
Kukryniksy
Kukryniksy (union of three artists -M.V. Kupriyanova, P.N. Krylova, N.A. Sokolova), back in the 20s, declared themselves assatirical artists, mainly illustrate satirical works
Illustrations for "Gentlemen Golovlev" by M.E. Saltykov-Shchedrin
or individual (satirical) episodes in literary writings
Illustrations for "Klim Samghin" by M. Gorky
Detgiz
Leningrad artistsK.I. Rudakov, N.A. Tyrsa are working onWestern and Russian classics, V.V. Lebedev and E.I. Charushin -over children's literature, keeping each its own creative face. Around Detgiz, headed by V. Lebedev, a whole group of remarkableLeningrad chartshigh culture: Yu. Vasnetsov, V. Kurdov, V. Konashevich and many others.
"Pushkiniana"
The 100th anniversary of Pushkin's death in 1937 brought to life a whole " Pushkinian »
drawings and watercolors N. Ulyanova dedicated to Pushkin's places,
series by L. Khizhinsky,
lithographs P. Schillingovsky
"What a great happinessthat Russia has Pushkin. All our lives he shines over us,like the never setting sun!" - later wrote an outstanding schedule, a master of sharp drawing N. Kuzmin , who illustrated "Eugene Onegin" in the "Pushkin manner" (5, p. 50).
national literature
Interest in national classical literature is ubiquitous. Gained widespread fameillustrations by S. Kobuladze
S. Kobuladze. Illustrations for Shota Rustaveli's poem "The Knight in the Panther's Skin". 1935 1937
Sublime elation of heroic characters achieved
coinage plastic form,
the consistency of the composition,
almost sculptural tangibilityin the transfer of entourage,
selection of the main in him.
Cycle of gouaches dedicated to David of Sasun, performed by E. Kochar (1939).
6. Architecture
Competition for the Building of the Palace of Soviets in Moscow
Many famous architects (Br. Vesnin, M. Gelfreich, B. Iofan, M. Ginzburg, even ch.-e. Corbusier) participated incompetition for the building of the PalaceSoviets in Moscow. Wonmulti-storey building project surrounded by columns, with statue of V.I. Lenin upstairs. So cubist mausoleumcould be in close proximity togigantic structure, claiming some underbeat classical architecture. But the project was not destined to come true.
Pavilions at VSH
The rivalry between constructivism and a certainlikeness of classicismobserved in the architecture of the 30s with a clear predominance of the latter by the end of the decade. In 1937 - 1939, at the All-Union Agricultural Exhibition,personifying republicshuge pavilions inpseudo-national spirit.
Moscow subway
Since the mid-1930s, they have been buildingthe first stations of the Moscow metro
With luxurious interior decoration(mosaic, sculpture, grisaille, fresco, stained glass, various types of marble, bronze lamps and gratings, etc.)
and overloaded Sovietsymbolism of the sickle, hammer
And five pointed stars decor.
Stalinist Empire
pomposity, excessive pomp, sometimes even at the expense of convenienceand common sense
huge colonnades,
towers with spiersrichly decoratedridiculous sculpture, in which the forms that claim to be classic are executed as if barbarian's hand
giant spans-arches of the gate, disproportionate to a person, which in itself already violates the laws of architectonics, coming from classical art
firmly establishedat a later timeand were subjected tocriticism only by the end of the 50s. But the apt ironic name still holds among the people"Stalin Empire".
