A group of artists created in 1922. Association of Artists of Revolutionary Russia (akhrr). OPH - Society for the Promotion of Arts

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1.Fantasy

a genre of fantastic literature based on the use of mythological and fairy tale motifs in the fantasy genre In cinema, these are film adaptations of books, comics (manga) or based on them.

"Stardust", "Lord of the Rings"

Matthew Vaughn,Peter Jackson

2.Detective

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"Sherlock Holmes"

Guy Ritchie

3.Horror movie

genre feature film, horror.

"Rosemary's Baby"

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a film in which the characters are caught in a disaster and are trying to escape. A specific type of thriller and drama. We can talk about both a natural disaster and a man-made disaster.

"Armageddon", "The Day After Tomorrow"

Michael Bay, Roland Emmerich

5. War film

a special genre of cinema, distinguished by the theme of war. It is these films that are distinguished by the presence of pictures reconstructing historical events. Various types of weapons, battle scenes and panoramic shots fully reflect the specifics of this genre.

"Quiet Don"

Sergey Gerasimov

6. Thriller

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"Sixth Sense"

M. Night Shyamalan

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"Love, Rosie"

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Movie or literary work adventure genre about the life of the first settlers of the American West.

"Dances with Wolves"

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"Across the Universe"

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"Always say yes"

Peyton Reed

12. "Soap Opera"

one of the genres of television series, which is characterized by a sequential presentation of the storyline in episodes of series on television and radio.

"Desperate Housewives"

AHRR - Association of Artists of Revolutionary Russia since 1928 - AHRR - Association of Artists of the Revolution The largest artistic group of the 1920s, including painters, graphic artists, sculptors Founded in 1922, dissolved in 1932.

AHRR was founded in Moscow in May 1922. The impetus for its creation was a speech delivered by Pavel Radimov, the last head of the Partnership of Itinerants, at the last, 47th exhibition of the partnership, held in 1922 in the House of Education and Arts Workers in Leontyevsky Lane in Moscow. This speech at the closing of the exhibition was called “On the reflection of everyday life in art” and set the realism of the late Itinerants as a model for the implementation of “ today: the life of the Red Army, the life of workers, peasants, revolutionaries and heroes of labor, understandable to the masses." This report was met with furious attacks from the “left” front - avant-garde artists who also joined the service of the revolution. Pavel Radimov became the head of the new association. The avant-garde was declared "harmful fabrications".

The first organizational meeting took place in the apartment of the portrait painter Malyutin, one of the authoritative masters of old Russia. In May 1922, AHRR was founded, at the same time the charter was adopted, the name was approved, and the presidium was formed (chairman P. A. Radimov, fellow chairman A. V. Grigoriev, secretary E. A. Katsman). Others included in the core of the organization are P. Yu. Kiselis, S. V. Malyutin. On May 1, 1922, the “Exhibition of paintings by realistic artists to help the hungry” opened on Kuznetsky Most, which later became considered the first exhibition of the AHRR.

From its first steps, AHRR secured solid material support from the leadership of the Red Army (Voroshilov). A number of practical tasks recorded in the Association’s Charter included: providing “material, scientific and technical assistance” to artists and fine arts workers, “full assistance in the development of inclinations artistic creativity and visual abilities among workers."

The Association of Itinerants actually merged with the AHRR, the last head of which, Radimov, became the first chairman of the AHRR. From this moment on, the Wanderers as an organization virtually ceased to exist. In addition, with the desire for realism, the Akrovites attracted mature painters into their camp who rejected the avant-garde (for example, A. E. Arkhipov, N. A. Kasatkin, V. K. Byalynitsky-Birulya, V. N. Meshkov, E. I. Stolitsa , K. F. Yuon, V. N. Baksheev, M. B. Grekov and others, as well as sculptors M. G. Manizer, S. D. Merkurov, N. V. Krandievskaya). Among those who later joined the ranks of the AHRR, there were also many painters who received recognition before the revolution: I. I. Brodsky, B. M. Kustodiev, E. E. Lansere, F. A. Malyavin, I. I. Mashkov, K S. Petrov-Vodkin, A. A. Rylov and others.

In addition, the powerful organization actively absorbed smaller artistic associations. In 1924, the AHRR included members of the New Society of Painters, in 1926 - a group of “Knave of Diamonds”, in 1929 - artists from the Genesis association, in 1931 - from the Four Arts society. In 1926, “Moscow Painters” entered the AHRR in its entirety. In 1931, a number of members of the OMH (Society of Moscow Artists) moved to the AKhR, which is why the Moscow society collapsed.

Over the 10 years of its existence, true to the party line, the AHRR has become the largest art organization countries. It grew rapidly: by the summer of 1923 it had about three hundred members. Regional and republican branches began to emerge. By 1926 there were already about forty of them. Among the first to appear were branches in Leningrad, Kazan, Saratov, Samara, Nizhny Novgorod, Tsaritsyn, Astrakhan, Yaroslavl, Kostroma, Rostov-on-Don. A number of related groups arose, for example, the “Association of Artists of Red Ukraine” (AKhCU), and in 1927 even the “Association of Artists of Revolutionary Germany.” In 1924, a publishing part was created under the leadership of V. N. Perelman, a “production bureau” (headed by A. A. Voltaire), 1925 - information bureau, Central Bureau of AHRR branches. “AHRR was an extremely numerous, mobile and ubiquitous organization. Unlike “stationary” art associations, AHRR, continuing the Wandering traditions, showed its works in many cities. Even those in opposition to the artistic program of the AHRR, many associations were drawn to some of its tendencies - not for opportunistic reasons (this, of course, also happened), but out of a desire to feel needed by the viewer, by the time.” In the 1920s, the Association acquired an increasing number of supporters, enjoyed state support and strengthened its position, acquiring new structures. In 1925, on the initiative of students from Moscow and Leningrad art universities, a youth association was created - OMAKhRR (Youth Association of the Association of Artists of Revolutionary Russia), which soon acquired the status of an autonomous organization with its own charter. In addition, “AHRR too persistently showed dictatorial tendencies; and sometimes it’s more likely this circumstance than just it artistic principles, aroused strong opposition from many artists and entire associations.”

In 1928, the First Congress of the AHRR was held, which adopted a new declaration and made a change in the name of the association - to the AHRR (revolution) from the AHRR (revolutionary Russia). By the end of the 1920s, the Association was in a state of half-life: a separate “Association of Youth Association of Artists of the Revolution” (OMAKhR, since 1928) was formed, mainly joining the RAPH (“ Russian Association proletarian artists"), a number of former leaders and new members established their own "Union of Soviet Artists" (since 1930)." In the end, AHRR, along with all other artistic associations, was dissolved in 1932 by the decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23 “On the restructuring of literary and artistic organizations.” The principles of relationships with the authorities and the reflection of Soviet reality that she developed formed the basis of the principles of the Union of Artists of the USSR. The Academy of Artists, like other artistic associations, became part of the single Union of Soviet Artists (USX).

In the 20s, the heyday of the Russian avant-garde, which also wanted to work for the benefit of the revolution, AHRR decisively opposed itself to these masters who used a new artistic language. Relying on the legacy of the Itinerants, who believed that the didactic content of a painting is much more important than the artistic value, and “art should be understandable to the people,” the Association created paintings that would not cause rejection by the mass audience due to their complexity. One of the components was the realism of painting, the second was the choice of themes, based on social and party orders (revolution, Soviet life and labor). The AHRR declaration was set out in the 1922 exhibition catalogue: “Our civic duty to humanity is the artistic and documentary recording of the greatest moment in history in its revolutionary impulse. We will depict today: the life of the Red Army, the life of workers, peasants, leaders of the revolution and heroes of labor... We will give a real picture of events, and not abstract fabrications that discredit our revolution in the face of the international proletariat.” The Association members considered the main task to be the creation of genre paintings based on subjects from modern life, in which they developed the traditions of painting by the Wanderers and “brought art closer to life.” “Artistic documentaryism” and “heroic realism” became the slogans of the AHRR. The masters of the association sought to create canvases that were “understandable and close to the people,” accessible to the “perception of the working masses” (as well as party leaders), art that would “truthfully reflect Soviet reality.” In subsequent years, they wrote: “The Soviet reality of those years was embodied in the truthful and intelligible works of the leading masters of the AHRR.” This activity was highly appreciated by the Soviet authorities.

The ideology of AHRR-AKhR AHRR clashed in a fierce struggle with representatives of other artistic groups that did not adhere to realism and subject painting. The Akhrovites fought against leftist trends in art, which, in their opinion, caused great harm to realistic painting, and sought to prove the need for the existence of easel painting. plot picture, fought with the slogan “art for art’s sake.” Although the AHRR absorbed many smaller artistic groups, it in particular did not disdain to purge its ranks of ideologically alien artists. Thus, in 1924, the Commission for the re-registration of the AHRR decided to exclude from its members a number of artists, former Knave of Diamonds members, “as alien to the ideology of the AHRR and the general comradely life. Exclude Lobanov, Rodionov, Maksimov, Vysheslavtsev as inactive people who are unnecessary ballast for the organization and who do not respond ideologically.” Of the most important opponents of AKHRR, it is worth noting that it was close in everything except for some ideological and artistic subtleties, OST, competition with which continued even after the victory of the Akhrovites over the avant-gardists.

AHRR manifested itself especially energetically during the years of the Great Turning Point, when it published calls in the magazine “Art to the Masses”: “Artists of the revolution, fight for the industrial and financial plan! Artists of the revolution, all to the plants and factories for a great historical cause - active participation in the implementation of the five-year plan. Design wall newspapers, boards on social competition, red corners, draw portraits of the heroes of the struggle for the industrial financial plan, scourge in wall newspaper caricatures slackers, grabbers, truants, flyers, scourge bureaucracy, expose sabotage! Artists of the revolution, to carry out all this work, develop socialist competition among yourself in its highest forms and phases (through brigades, public tug, etc.), declare yourself shock workers, join brigades organized by trade union organizations, eliminate the lag of the entire isofront from the general front of the struggle for socialism! Fight for the five-year plan in four years!”

Artistic characteristics of painting Typical features of the works of the Akhrovites are a clear narrative, conservative “realism”, an attempt to recreate a historical or modern event (that is, glorified documentary). AHRR artists sought to make their painting accessible to the mass audience of that time, and therefore in their work they often used the everyday writing language of the late Wanderers. In addition to “heroic realism,” their works also showed tendencies of everyday life and naturalism, although this, as Soviet critics later noted, “often led to petty themes and illustrativeness.” They embodied their slogan of “artistic documentary”: the practice of going on location was extremely common. Painters went to factories and factories, to Red Army barracks, to observe the life and everyday life of their characters. Their activity began with sketches at Moscow factories (Dynamo, etc.) in 1922, where Radimov and his comrades went almost immediately. During the preparation of the exhibition “Life and Life of the Peoples of the USSR,” all participants visited the most remote corners of the country and brought from there a significant number of sketches that formed the basis of their works. The concept of creative business trips was implemented: painters went on trips together with expeditions of the Academy of Sciences, exploration geologists, and builders.

AHRR artists played a major role in the development of new technologies. Soviet art themes, for example, of the Soviet landscape, influencing representatives of various artistic groups of that time. Of course, they influenced the formation of the theory of socialist realism in painting. Additionally, AHRR used the inventions of the propaganda industry, since its task was not only to create canvases on current topics, but also to release them to the people, replicating them on posters and postcards. Also, “despite the programmatic anti-modernist attitudes, elements of modernity (symbolism and impressionism) constantly make themselves felt, but as if in a tamed version, alien to fantasy.” Most of the significant artists of the AHRR studied painting back in tsarist time on the basis of the academic drawing program or received their skills directly from the teachers of this school (for example, the 1st Soviet battle painter Mitrofan Grekov studied with the 1st Imperial battle painter - Franz Roubaud). This has led to the fact that the works of prominent Akrovites are not weak either in design or composition with color, and today they have not only historical, but in many cases significant artistic value.

Exhibitions 1922 - “Exhibition of paintings by realistic artists to help the hungry” (salon on Kuznetsky Most street) 2. 1922 - “Life and life of the Red Army” (Museum of Fine Arts). The catalog published the declaration of the Academy of Arts. 3. 1922 - Exhibition of paintings, sketches, graphics and sculptures “Life and Life of Workers” (Moscow, Scientific and Technical Club in the House of Unions) 4. 1923 - “Red Army. 1918-1923" (Museum of the Red Army) 5. 1923 - "Corner named after V.I. Ulyanov-Lenin" (First agricultural and handicraft-industrial exhibition, now the territory of the Central Park of Culture and Culture. O) 6. 1924 - "Revolution, life and work" (State Historical Museum) 7. 1925 - “Revolution, life and work” (Museum of Fine Arts) 8. 1926 - “Life and life of the peoples of the USSR” (former Agricultural Exhibition, now the territory of the Central Park of Culture and Culture. O; Leningrad - in a reduced composition, halls of the Academy of Arts ) 9. 1927 - “Exhibition of sketches, sketches and sculptures of artists of the Moscow organization of the AHRR” (Museum of the Revolution) for the tenth anniversary of the October Revolution (the declaration of the AHRR is published in the catalogue) 10. 1928 - “X years of the Red Army” (building of the Central Telegraph), to artists from other associations were invited to participate in the exhibition; The AHRR declaration is published. Such different in manner and content things appeared as “Defense of Petrograd” by Deineka, “Death of the Commissar” by Petrov-Vodkin, “Fergana Partisans” by P. Kuznetsov, “Taman Campaign” by Sokolov-Skal, “Order of the Offensive” by Shukhmin, etc. 11 1929 - “Art to the Masses” (MGSPS stadium, now the territory of the Central Park of Arts and Culture. O). The catalog published the declaration of the Academy of Artists and the declaration of the Society of Easel Artists. In 1928, the AHRR organized two traveling exhibitions for workers' clubs in Moscow. In 1928, the first OMAKhRR exhibition opened (Moscow); in 1929, two OMAKhRR exhibitions were held (one of them presented the work of the textile section). In the future, AHRR artists take part in various thematic exhibitions: 2. “Painting, drawing, film, photography, printing and sculpture on the theme “The Life and Life of Children Soviet Union"(1929) 3. “The First Traveling Exhibition” (1929), 4. “The Red Army in Soviet Art” (Moscow, Tretyakov Gallery), 5. “Exhibition of works on revolutionary and Soviet themes” (1930, Tretyakov Gallery), etc.

Isaak Izrailevich Brodsky (1883-1939) - Soviet and Russian painter and graphic artist, teacher and organizer of art education, Honored Artist of the RSFSR (1932), one of the main representatives of the realistic trend in Soviet painting of the 1930s, author of an extensive visual Leninians. Isaac Brodsky was born on December 25, 1883 (January 6, 1884) in the village of Sofievka near Berdyansk (at that time the Tauride province, now the Zaporozhye region of Ukraine), into a Jewish family. The father was a merchant and landowner, a merchant of the second guild of the city. Nogaisk Taurida province. The younger sister Raisa (1894-1946) was a musician, a graduate of the St. Petersburg Conservatory. In 1896 he graduated from the Berdyansk City School. He considered the city of Berdyansk his homeland. Since childhood, he showed a talent for painting. From 1896 to 1902 he studied at the Odessa Art School with L. D. Iorini, K. K. Kostandi and G. A. Ladyzhensky. Then he moved to. St. Petersburg and continued his studies at the capital's Academy of Arts. For five years he studied at the Academy with I. E. Repin. In 1909-1911, with money from the Academy, he traveled throughout the German Empire, France, Spain and Italy, in particular, he visited the island. Capri M. Gorky. Before the October Revolution of 1917 and in the 1920s, Brodsky participated in exhibitions at the Academy of Arts, was an exhibitor of the “Association of South Russian Artists”, “Association of Traveling Art Exhibitions”, “Society named after. A. I. Kuindzhi", "Communities of Artists". In the summer of 1917, he began a portrait of Alexander Kerensky (he finished it already in 1918, when the Provisional Government was overthrown), and after the October Revolution he actively painted portraits of Bolshevik leaders. Brodsky worked a lot to create images of Soviet leaders, primarily V.I. Lenin and I.V. Stalin. In addition, Brodsky was involved in the reorganization of art education in the USSR. Since 1932 he was a professor, and since 1934 - director of the All-Russian Academy of Arts. I. I. Brodsky attracted major artists and teachers to work at the Leningrad Institute of Painting, Sculpture and Architecture, which he headed: K. F. Yuon, P. S. Naumov, B. V. Ioganson, A. I. Lyubimov, R. R. Frenz, N. F. Petrov, V. A. Sinaisky, V. I. Shukhaev, D. I. Kiplik, N. N. Punin, V. N. Meshkov, M. D. Bernshtein, E. M. Cheptsov , I. Ya. Bilibin, M. G. Manizer, P. D. Buchkin, A. P. Ostroumov-Lebedev, A. E. Karev, B. A. Fogel, L. F. Ovsyannikov, S. V. Priselkov , I. P. Stepashkin, K. I. Rudakov and others. His students were such famous artists and teachers as A. I. Laktionov, Yu. M. Neprintsev, V. M. Oreshnikov, P. P. Belousov, M. P. Zheleznov, N. E. Timkov, A. N. Yar . Kravchenko, P.K. Vasiliev, M.G. Kozell and others. Brodsky died on August 14, 1939 in Leningrad. He was buried on the Literary Bridge at the Volkovskoye Cemetery. . In the center of Leningrad (Arts Square, 3 - Golenishchev-Kutuzov House) a museum of the artist was created - the museum-apartment of I. I. Brodsky, which is a department of the Scientific Research Museum Russian Academy arts In September 1940, Lassalle Street near Nevsky Prospekt was renamed Brodsky Street (in 1991 it was returned historical name- Mikhailovskaya street). The Berdyansk Art Museum, founded by him in 1930, bears Brodsky’s name, where the artist donated about 200 paintings by Russian artists from his collection.

I. I. Brodsky (1883 -1939). Speech by V.I. Lenin at the farewell of the Red Army units to the Western Front on May 5, 1920. 1933

Mikhail Vasilyevich Frunze (party pseudonyms Mikhailov, Tri Fonich, Arseny, literary pseudonyms Sergei Petrov, A. Shuisky). January 21 (February 2) 1885, Pishpek, Semirechensk region - October 31, 1925, Moscow - revolutionary, Soviet statesman and military leader, one of the most prominent military leaders of the Red Army during the Civil War, military theorist. I. I. Brodsky (1883 -1939). M. V. Frunze on maneuvers. 1929

I. I. Brodsky (1883 -1939). People's Commissar of Defense K.E. Voroshilov on a ski trip. 1937 Kliment Efremovich Voroshilov (January 23, 1881, Verkhneye village, Yekaterinoslav province (now the city of Lisichansk, Lugansk region) - December 2, 1969, Moscow) - Russian revolutionary, Soviet military leader, state and party leader, participant in the Civil War, one from the first Marshals of the Soviet Union. Since 1925, People's Commissar for Military and Naval Affairs, in 1934-1940, People's Commissar of Defense of the USSR. In 1953-1960 - Chairman of the Presidium Supreme Council THE USSR. Twice Hero of the Soviet Union, Hero Socialist Labor. Member of the party's Central Committee in 1921-1961 and 1966-1969. Member of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks (1924-1926). Member of the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks (1926-1952), member of the Presidium of the Central Committee of the CPSU (1952-1960). Voroshilov holds the record for the length of stay in the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks (CPSU Central Committee), the Presidium of the CPSU Central Committee (34.5 years).

Mitrofan Borisovich Grekov Real name - Martyshchenko Mitrofan Pavlovich (June 3, 1882, Sharpayevka village, Yanovskaya volost, Donetsk district, Don Army Region - November 27, 1934, Sevastopol) - Soviet battle painter of Russian Cossack origin. Born into a Cossack family, on the Sharpayevka farm in the Don Army Region (now Rostov Region). First he went to study painting at the Odessa Art School (from Kiriyak Kostandi), then he ended up at the St. Petersburg Academy of Arts, where he studied with I. Repin and F. A. Rubo - a classic of the battle genre. He became the founder of the Soviet battle genre. During the First World War he was at the front, from where he brought back many sketches. In the Civil War he fought as part of the Red Army, where he volunteered. Documented the exploits of Budyonny's First Cavalry Army. Was a member of the AHRR. Lived in Novocherkassk and Moscow. The artist’s most famous works: “Trumpeters of the First Cavalry”, “Tachanka”, “Battle of Yegorlykskaya”, “The Frozen Cossacks of General Pavlov”. He headed the team creating the panorama “The Storm of Perekop” (1934).

Ryazhsky Georgievich (Egorovich; January 31 (February 12) 1895 - October 20, 1952) - Soviet painter, teacher, professor. Secretary of the Presidium of the USSR Academy of Arts from 1949 to 1952. Academician of the USSR Academy of Arts (1949). Honored Artist of the RSFSR (1944). Born on January 31 (February 12), 1895 in the village of Ignatyevo, Moscow province of the Russian Empire. In 1910-15 he studied in the drawing classes of the Prechistensky evening courses with N. N. Komarovsky; in the studio of M. V. Leblanc, R. A. Baklanov, M. M. Severov, took lessons in the workshop of Anna Golubkina (1917). In 1918 -1920 studied at the State Free Art Workshops - Vkhutemas with Kazimir Malevich. In 1922, he organized the NOW group, then taught correspondence courses in drawing, from 1929 to 1931 - at the Vkhutein, worked at the School of Memory of 1905, from 1934 - at the Moscow Art Institute. V.I. Surikova, since 1940 - professor. Honored Artist of the RSFSR (1944). Full member of the USSR Academy of Arts (1949). He painted mainly female portraits. In 1937, the works of G. G. Ryazhsky “Delegate” and “Chairwoman” were awarded a large gold medal at the International Exhibition in Paris.

Sergei Vasilyevich Malyutin (September 22, 1859, Moscow, Russian Empire - December 6, 1937, Moscow, RSFSR, USSR) - Russian artist, architect. The son of a merchant, was born, lived, and worked in Moscow. The author of the painting of the first Russian nesting doll. 1883-1886 - studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ), in the workshops of I.M. Pryanishnikov, V.E. Makovsky and other teachers 1886 - received a small silver medal, in 1890 - the title of non-class artist 1891-1893 - taught drawing at the Moscow Elizabethan Institute; in 1903-1917 - at MUZHVZ. 1890s - artist in Russian private opera S.I. Mamontova 1896 - member of the Moscow Association of Artists 1900-1903 - in Talashkino, under Princess M.K. Tenisheva, he led art workshops that served as an example for the further development of the Russian art industry. Member of the artistic association "World of Art" 1903 - in the "Union of Russian Artists". Taught at MUZHVZ (until 1917) 1913 - member of the “Association of Wanderers” 1914 - academician of the Academy of Arts 1918-1923 - taught at GSKHM-VKHUTEMAS 1918-1921 - participated in the creation of the “Windows of Satire ROSTA” 1922 - one of the organizers of the “Association of Revolutionary Artists” Russia" 1927-1931 - member of the art group "Association of Realist Artists

Boris Vladimirovich Ioganson (July 13 (25), 1893, Moscow - February 25, 1973, Moscow) - Russian and Soviet artist and teacher, one of the leading representatives of socialist realism in painting, professor. President of the USSR Academy of Arts from 1958 to 1962. Academician of the USSR Academy of Arts (1947). People's Artist of the USSR (1943). Hero of Socialist Labor (1968). Winner of two Stalin Prizes of the first degree (1941, 1951). Member of the CPSU(b) since 1943. Boris Ioganson was born in Moscow into the family of an employee of Swedish origin. He received his primary art education at the school-studio of P. I. Kelin. Then, from 1912 to 1918, he studied at the Moscow School of Painting, Sculpture and Architecture, where his teachers were A. E. Arkhipov, N. A. Kasatkin, S. V. Malyutin and K. A. Korovin. In 1919-1922 he worked as a set designer in theaters in Krasnoyarsk and Alexandria (Kherson province). In 1922-1931, he was a member of the Association of Artists of Revolutionary Russia. One of the most significant representatives of Soviet easel painting of the 1930s. In his work, he turned to the most valued traditions of Russian painting of the 19th century at that time - the legacy of I. E. Repin and V. I. Surikov. Interpreting it, he introduces into his works “new revolutionary content, in tune with the era.” His paintings are especially famous: “Interrogation of Communists” (1933) and “At the Old Ural Factory” (1937). In 1937-1961 he taught at the Repin Institute in Leningrad, and since 1939 - as a professor. Since 1964 he worked in Moscow, taught at the Art Institute. V. I. Surikova. From 1953 he was vice-president, and in 1958-1962 - president of the USSR Academy of Arts. In 1965-1968 he was the First Secretary of the Board of the Union of Artists of the USSR. Since 1962, Ioganson has been the editor-in-chief of the encyclopedia “The Art of Countries and Peoples of the World”. Member of the USSR Supreme Council of the 7th convocation (1966-1970). Delegate to the XX and XXIII Congresses of the CPSU. Died on February 25, 1973.

OST (OKHST) Society of Easel Painters is an artistic group founded in 1925 in Moscow by a group of VKHUTEMAS graduates led by David Shterenberg. Characteristic feature OST's creativity is the glorification of Soviet reality (industrialization, sports, etc.) using the techniques of modern European expressionism. Existed until 1931. Leading OST artists played an important role in the development of Soviet easel painting, as well as monumental painting, book graphics, posters, and theatrical and decorative art.

Creation of the association In 1924, the First discussion exhibition of associations of active revolutionary art took place (Moscow, Tverskaya st., 54), where VKHUTEMAS students took part as part of the following groups: “projectionists” (S. Luchishkin, S. Nikritin, K. Redko, N . Tryaskin A. Tyshler; group formed in 1922). “concretivists” (P. Williams, K. Vyalov, V. Lyushin, Yu. Merkulov; separated from the group of “projectionists” in 1924). “group of three” (Alexander Deineka together with Yu. Pimenov and A. Goncharov) The next year, 1925, they, together with other graduates who joined them, founded the OST, the chairman of which, as the most respected and “foreman,” was chosen Shterenberg, a teacher VKHUTEMAS, whose students (as well as V. A. Favorsky) were the majority of the association’s participants. The founding members of OST were Yu. Annenkov, D. Shterenberg, L. Weiner, V. Vasiliev, P. Williams, K. Vyalov, A. Deineka, N. Denisovsky, S. Kostin, A. Labas, Yu. Merkulov, Yu . Pimenov. The OST Charter was adopted in September 1929. The chairman of the society is D. P. Shterenberg. Composition of the board in 1925-1926 - L. Weiner, P. Williams, N. Denisovsky, Y. Pimenov; 1927 - P. Williams, Y. Pimenov, L. Weiner, N. Shifrin.

Ideology The name of the group - the Society of Easel Artists - was associated with heated discussions about the fate and purpose of art. A group of contemporary OST painters fundamentally rejected easel forms of creativity for the sake of artistic production tasks, which the members of the future OST did not like. Actually, Shterenberg, even in his post in the fine arts department, as a teacher, contributed to the development of this production art, but as a painter and member of OST he already began to defend the fruitfulness of easel art. “Anti-machine-machine producers”, and then AHRR, became the main opponents of OST. P. Williams. “Auto rally”, 1930, Tretyakov Gallery. One of the most famous OST paintings combines expressiveness, lightness of brushwork, and modern theme- cars After the formation in 1922 of AHRR - the Association of Artists of Revolutionary Russia and its fight against “formalism” (Russian avant-garde), the emergence of OST - an association of artists, which, like AHRR, preferred Soviet themes, but did not reject the tools of artistic language, became natural. invented in the twentieth century. Unlike the Akhrovites, who were guided by the very life-like realism of the Wanderers, the Ostovites considered the latest European movements, especially expressionism, to be their aesthetic ideal. This was partly due to the fact that most of the members of the association were graduates of VKHUTEMAS - young people who sought to “express the energy and vigor of the young country.” Only Shterenberg was a representative of the older generation. The OST began to be called “the most left-wing of right-wing groups.”

Researchers note that at first in the program and practice of OST there was a lot of purely speculative experimental fervor and mischief, but something else is important - a creative atmosphere reigned in this Society, it was dominated by a greedy interest in the revolutionary novelty of modern reality, in new forms of life, and not only to new forms of painting and graphics for their own sake. OST did not take on the revolutionary themes of the Civil War (the best examples of which were presented by the Akhrovites), but preferred peaceful, bright themes, “signs of the 20th century,” typical phenomena of the peaceful reality of their time: the life of an industrial city, industrial production, sports, etc. In educational The plan defined a “focus on artistic youth.” They sought to reflect in individual facts the new qualities of their contemporary era. Main themes: Industrialization of Russia, which was recently still agrarian and backward, the desire to show the dynamics of the relationship between modern production and people. Life of the city and urban man of the 20th century. Mass sports (football, tennis, sports competitions and cross-country, gymnastics), which also became a characteristic feature of the life of Soviet society.

OST members advocated realistic painting in an updated form, contrasting it with non-objective art and constructivism. OST affirmed the importance and vitality of easel art forms. The main task of the Ostovites, like the Akhrovtsy, was to fight for the revival and further development of easel painting on a modern theme or with modern content - in which they were completely different from LEF. OST was inclined to see the strict reality of the 1920s poetically and to realize it in a professionally and logically constructed picture, thus entering into polemics with both the documentaryism of the AHRR and the more abstract quests of the avant-garde.

from the OST Charter: Considering that only art of high quality can set itself such tasks, it is necessary in the conditions modern development the art of putting forward the main lines along which the work should proceed (...) a) rejection of abstraction and wandering in the plot; b) rejection of sketchiness as a phenomenon of disguised amateurism; c) rejection of pseudo-Cézanneism as disintegrating the discipline of form, design and color; d) revolutionary modernity and clarity in the choice of subject; the desire for absolute mastery (...); e) the desire for a finished picture; g) orientation towards artistic youth.

Artists sought to develop a new visual language, laconic in form and dynamic in composition. The works are characterized by an acute laconicism of form, its frequent primitivization, dynamics of composition, and graphic clarity of the drawing. “In search of a language adequate to their figurative and thematic aspirations, the Ostovites no longer turned to Wanderers, but to the traditions of European expressionism with its dynamism, sharpness, expressiveness, to the modern traditions of posters and cinema, which have a free and precise sense of space, the ability to sharply , expressive impact on the viewer (especially those stylistically gravitating towards German expressionism).” “They wanted a voice that was loud and clear, concise and expressive. artistic language, they boldly introduced the techniques of graphics, posters, and frescoes into their paintings.” “The style was very advanced, including elements of constructivist montage, as well as the techniques of figurative defamiliarization and deconstruction characteristic of expressionism and surrealism.”

“All these new tasks have determined new methods. One of the principles compositional construction The picture becomes fragmented in space. The plot to which the image is dedicated ceases to be closed and becomes an organic part of the infinite world. The silhouettes of people are enlarged and brought to the fore. By depicting them in contrast both in color and size in relation to everything else, artists emphasize their dynamic power. Ostovsky easel painting thus absorbs elements of monumental painting, providing this type of art with living space within itself for a long time. This is all the more important to note and emphasize that the Soviet era experienced an urgent need for the monumental pathos of its figurative embodiment, but at the same time, the Soviet state in those years did not have sufficient funds for the development of urban planning and the accompanying synthesis of architecture with monumental art.” “The fusion of modern plots with modern formal means is (...) the course taken by OST. The course is absolutely correct in principle, from which fruitful results could be expected,” wrote critic J. Tugendhold. “The corresponding tradition made itself felt for many years, actively influencing both official and unofficial Russian art (it was OST - even to an even greater extent than the Jack of Diamonds - that became the stylistic basis for the harsh style of the 1960s)" .

Deineka left OST back in 1928 for reasons of principle. One of the reasons for leaving was his disagreement with the leadership of the society, primarily with Shterenberg, who did not like the fact that young people were not limited to the search for a pictorial form, but were invading related forms of art - posters, magazine drawings, theatrical decorations, trying their hand at creating monumental thematic compositions. As Deineka’s researchers noted with criticism, “after successful performances in the genre of thematic painting, Shterenberg and the group of artists adjacent to him began to retreat to the position of chamber easel art with an emphasized conventional interpretation of the surrounding world. Their formal stylistic experiments often took on a laboratory character and took on an overly artificial form. Deineka and his like-minded people in OST also strived for innovation in the ideological and thematic sphere of art.” There were considerable differences among members of the OST in assessing the importance of individual types and genres of art. “The most consistent easel painters defended the priority of purely pictorial methods of working on magazine drawings, posters, and monumental panels; adherents of intimate-lyrical painting expressed claims to those who were carried away by the search for the great style of the era. Most likely, Deineka was not satisfied with the internal division of artists, the desire of some members of the association to assert the priority of pure formal innovations over the search for specific meaningful imagery.” The association itself did not last long in its original composition. Already in 1928, two groups of artists were clearly defined within it, differing in their creative positions.

One of the groups (Williams, Deineka, Luchishkin, Pimenov, etc.) gravitated towards depicting city life, new technology, industrial landscape, sports, young, physically developed people. Their works were distinguished by dynamism, clarity of composition, and graphic expression of forms. Another group, united around Shterenberg (Goncharov, Labas, Tyshler, Shifrin, etc.), worked in a freer manner, preferring lyricism and picturesqueness to the rational organization of works.

Initially professional debates and polemics between members of both groups soon took on political overtones. Experiencing increased ideological censorship and political attacks from the AKHRR, and later from the RAPH, society underwent a split (it was accused of formalism, bourgeois individualism, etc.). At the beginning of 1931, the core members came to the decision that one of the groups should leave the Society. This group was the artists led by Shterenberg, who retained the old name. The remaining artists soon abandoned the name OST and declared themselves as a new association - “Izobrigada” (“Brigade of Artists”). (Some of the participants also moved to “October”, organized in 1930, which included Deineka).

The board of the remaining part of OST: D. Shterenberg (chairman), A. Labas, A. Tyshler and A. Kozlov. The “Isobrigade” (Yu. Pimenov, P. Williams and others) made accusations against their recent comrades and assurances that from now on they would be “for journalism in art as a means of exacerbating figurative language art in the struggle for the combat tasks of the working class." in 1932, by the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, “On the restructuring of literary and artistic organizations,” its remnants merged with the Moscow branch of the Union of Soviet Artists.

OST members In total, OST united more than 30 main artists: Annenkov, Yuri Pavlovich Williams, Pyotr Vladimirovich Volkov, Boris Ivanovich Goncharov, Andrey Dmitrievich Deineka, Aleksandrovich Kupreyanov, Nikolai Nikolaevich Labas, Alexander Arkadyevich Luchishkin, Sergei Alekseevich Merkulov, Yuri Alexandrovich Pimenov, Yuri Ivanovich Tyshler , Alexander Grigorievich Shterenberg, David Petrovich others: Axelrod, Meer (Mark) Moiseevich Alfeevsky, Valery Sergeevich Antonov, Fedor Vasilyevich Barto, Rostislav Nikolaevich Barshch, Alexander Osipovich Berendgof, Georgy Sergeevich Bulgakov, Boris Petrovich Bushinsky, Sergei Nikolaevich (from 1928) Weiner, Lazar Yakovlevich Vasiliev V. Vyalov, Konstantin Aleksandrovich Gorshman, Mendel Khaimovich Denisovsky, Nikolai Fedorovich Dobrokovsky, Mechislav Vasilyevich Zernova, Ekaterina Sergeevna Kishchenkov (Lik) L. I. Klyun, (Klyunkov) Ivan Vasilievich Kozlova, Klavdiya Afanasyevna Kostin, Sergey Nikolaevich Kolyada, Sergey Avksentyevich Kudryashev, Ivan Alekseevich Igumnov, Andrey Ivanovich (since 1929) Lyushin, Vladimir Ivanovich Melnikova, Elena Konstantinovna Nikritin, Solomon Borisovich Nissky, Georgy Grigorievich Parkhomenko K. K. Perutsky, Mikhail Semenovich Poberezhskaya A. I. Popkov, Ivan Georgievich Prusakov , Nikolai Petrovich Tryaskin, Nikolai A. Tyagunov, Vladimir Petrovich Shifrin, Nisson Abramovich Shchipitsyn, Alexander Vasilievich Ellonen, Viktor Vilgelmovich Kuptsov, Vasily Vasilievich

The most famous paintings of the skeletons: P. Williams, “Motor Race” (1930), “Hamburg Uprising” by D. Shterenberg, “The Old Man (Old)” (1925), “Aniska” (1926) by A. Deineka, “On the Construction of New Workshops” (1926), “Before Descending into the Mine” (1924), “Football Players” (1924), “Textile Workers” (192 6), “Defense of Petrograd” (1928). A. Labas, “The First Soviet Airship” (1931), “The First Steam Locomotive on Turksib” (1931) S. Luchishkin, “The Ball Flew Away” (1926), “I Love Life” Y. Pimenov “Heavy Industry”. Pictures after the dissolution of the association: “New Moscow” (1937); "Wedding on Tomorrow Street" (1962).

David Petrovich Shterenberg (July 14 (26), 1881, Zhitomir - May 1, 1948, Moscow) - painter, graphic artist, one of the main representatives of Russian fine art of the first half of the 20th century. Early life and the Parisian period Born into a Jewish family in Zhitomir. He was a photographer's student in Odessa and was fond of revolutionary ideas. In 1906 he emigrated from Russia to Vienna as an active member of the Bund. From 1907 to 1917 he lived in Paris. In Paris he studied phototypes and studied painting, first at the School of Fine Arts, and then at the A. Vitti Academy. Among his fellow students was Dutch artist Kees van Dongen. Shterenberg lived in the famous Parisian phalanstery “The Beehive”. The artist was influenced by the work of Paul Cezanne and Cubism. Since 1912 he took part in exhibitions at the Paris Salon. Later he joined the Salon of Independents, becoming close to other artists of the Parisian school: Lipchitz, Kisling, Diego Rivera, Marc Chagall and others. Shterenberg's paintings from the Parisian period are often contradictory and heterogeneous. The artist would develop a recognizable style only towards the end of his stay in Paris.

Return to Russia After the October Revolution of 1917, Shterenberg returned to Russia, where his political past and acquaintance with the People's Commissar of Education A.V. Lunacharsky played a role. Familiar with Shterenberg's Parisian work, Lunacharsky appointed him head of the Fine Arts Department of the People's Commissariat for Education. Along with Nathan Altman and other Russian cultural figures, he took part in a conference of writers, artists and directors on cooperation with the Soviet government at Smolny in Petrograd (St. Petersburg). In 1918, an exhibition of participants of the Jewish Society for the Promotion of Art took place in Moscow, in which Shterenberg took part along with Altman, Baranov-Rossine and Lissitzky. From 1918 to 1920 he was head of the fine arts department of the People's Commissariat of Education. In 1918, he published his programmatic article “Tasks of Contemporary Art” in the news of the Petrograd Soviet. From 1920 to 1930 he taught at VKHUTEMAS. In 1922 in Moscow, Shterenberg took part in an exhibition of Jewish artists, of which Marc Chagall was a participant. In the same year he wrote an essay for the catalog of the First Russian Art Exhibition at the Van Diemen Gallery in Berlin. He was a member of the association of Comfuts (communist futurists). He refused to join LEF due to the denial of easel art by LEF theorists. In 1925-1932, he was the founder and leader of the Society of Easel Painters (OST). Shterenberg played a significant role in the development of Soviet art, especially in the post-revolutionary period, when the Fine Arts Department of the People's Commissariat for Education united avant-garde artists who were rejected by the previous official art. Shterenberg paid great attention to the organization of exhibitions and issues of art education. Shterenberg saw the main task of Soviet art in the need to improve pictorial culture, thereby underestimating the importance of narrative, socially active art

Andrei Dmitrievich Goncharo (1903-1979) - Soviet painter and graphic artist, book artist, theater artist, teacher. People's Artist of the RSFSR (1979). Corresponding Member of the USSR Academy of Arts (1973) Andrei Dmitrievich Goncharov was born on June 9 (June 22), 1903 in Moscow. He took his first drawing lessons in the private studio of K. F. Yuon. In 1917-1919 he studied at the 59th labor school. In 1918, he entered the Second State Free Art Workshops (formerly the Moscow School of Painting, Sculpture and Architecture), where he first studied in the workshop of I. I. Mashkov, and then moved to the workshop of A. V. Shevchenko. In 1921 he entered the graphic department of VKHUTEMAS, where he studied in the wood engraving department under V. A. Favorsky. Since 1923, he constantly worked as an illustrator for newspapers, magazines, and publishing houses (Izvestia TsIK, Academia, Molodaya Gvardiya, GIHL, etc.). Participated in the design of the All-Russian Agricultural and Handicraft Exhibition. In 1924, he exhibited for the first time at the First Discussion Exhibition of Associations of Active Revolutionary Art (Moscow, Tverskaya Street, 54) as part of the “group of three” with A. A. Deineka and Yu. I. Pimenov. Since 1925, member of the Society of Easel Painters (OST). In 1927 he graduated with honors from the graphic department of VKHUTEMAS (VKHUTEIN) with the title of graphic artist. He began teaching at the art studio of the Frunze Department of Public Education in Moscow, at the ethnological faculty of Moscow State University named after M.V. Lomonosov. In 1928 he participated in the All-Union Printing Exhibition. In 1929-1930, he was an associate professor at the Leningrad VKHUTEIN. In 1930-1934 he was an associate professor at the MPI. From 1934 to 1938, he was an associate professor at the Moscow State Academy of Arts named after V. I. Surikoyv. During the Great Patriotic War (1941-1945) he served in the ranks of the Red Army. He worked as a production editor and artist in the magazine “Front-line Humor” (publication of the 3rd Belorussian Front), and then as the main artist of the exhibition “Political work in units of the 3rd Belorussian Front”. In 1947-1948 he taught at the Moscow Central Art and Industrial School at the faculty of monumental painting. In 1948-1979 he taught at. Moscow Printing Institute, where from 1950 to 1974 he headed the department of drawing and painting. In 1958, Goncharov was awarded the title of professor. In 1959, Goncharov created four main panels for a Soviet exhibition in New York. [In 1960, A.D. Goncharov’s book “On the Art of Graphics” was published, and in 1964, the book “The Artist and the Book” was published. In 1971-1979, Goncharov served as chairman of the jury of the All-Union annual competition “The Art of Books”. Corresponding member of the USSR Academy of Arts (1973). A.D. Goncharov died on June 6, 1979 in Moscow.

Alexander Arkadyevich Laba s (February 19, 1900, Smolensk - August 30, 1983, Moscow) - Soviet artist, member of the OST group, representative of the Russian avant-garde of the 20s - 30s. Born in Smolensk on February 19, 1900. Parents - Arkady Grigorievich (Aizik Girshevich) and Khaya Shaulovna Labas. At the age of 6 he began painting in the private studio of the artist V. Mushketov. In 1910, Labasa's father, a journalist and publisher, moved with his family to Riga, and in 1912 to Moscow. Labas enters the Imperial Stroganov School of Art and Industry. At the same time, he studies in the studio of F. Rerberg, then in the studio of I. Mashkov. Since 1917, he studied at the State Art Workshops (later VKHUTEMAS), first in the workshop of F. Malyavin, and then in the workshop of P. Konchalovsky. Studies with K. Malevich, V. Kandinsky, P. Kuznetsov, K. Istomin, A. Lentulov. In 1919 - artist of the 3rd Army of the Eastern Front. Since 1924, at the invitation of V. Favorsky, he has been teaching painting and color science at VKHUTEMAS. In the 20s - 30s he was involved in designing performances at the Theater of the Revolution, the Theater named after. V. F. Komissarzhevskaya, State Jewish Theater (GOSET). He made panoramas and dioramas for the Soviet pavilions at the World Exhibition in Paris (1937), the World Exhibition in New. York (1939), for the Main Pavilion of the All-Russian Agricultural Exhibition (1938-1941). One of the founding members of OST (Society of Easel Painters). In the 20s - early 30s, an active participant in international exhibitions (XVII International Art Exhibition, Italy (Venice), 1930, XXX International Painting Exhibition in the USA (Pittsburgh, Baltimore, St. Louis), 1931, Exhibitions in Holland, Germany, Sweden, Latvia, Switzerland, England, South Africa, France, Japan, Spain In 1935 -36 he was accused of formalism, his works were not acquired by museums, and were not accepted for exhibitions.

Alexander Grigorievich Ty Shler (July 14, 1898 Melitopol - June 23, 1980, Moscow) - Soviet painter, graphic artist, theater artist, sculptor. Honored Artist of Uzbekistan. USSR (1943). Winner of the Stalin Prize of the second degree (1946), Aleksandr Tyshler was born in Melitopol (now the Zaporozhye region of Ukraine) into the family of an artisan. In 1912-1917 he studied at the Kiev Art School, in 1917-1918 - in the studio of Alexandra Ekster. In 1919, Tyshler volunteered to join the Red Army; Serving under the administration of the Southern Front, he made posters for the windows of ROSTA, illustrated the first primers in the languages ​​of peoples who had no written language before the revolution: Kalmyk, Mordovian, Tatar, as well as Yiddish. In 1921, after demobilization from the army, he entered VKHUTEMAS and studied in the workshop of Vladimir Favorsky. In 1927, Alexander Tyshler made his debut as a theater artist, designing a number of performances at the Belarusian Jewish Theater in. Minsk. In the 1930s he worked in Moscow, collaborated with many capital and Leningrad theaters; Since 1935, he designed the performances of the GOSETMoscow Jewish Theater. In the early years theatrical works Tyshler had expressionist features that were generally characteristic of his work of this period: emphasized whimsicality, often arbitrariness of stage images - later the artist’s style changed. Since the mid-30s, starting with “King Lear” in GOSET and “Richard III” in the Leningrad Bolshoi Drama Theater (both 1935), the central place in theatrical creativity Tyshler was taken over by Shakespeare. Many of his works contributed to the world "Shakespearean"; Tyshler created stage images imbued with expression and intense emotionality, easily transformable designs based on the principle of organizing a public square theater. IN post-war years These features of the mature Tyshler were transformed in different ways in productions of Soviet and modern foreign drama, including in the performances “Mystery-Buff” by V.V. Mayakovsky at the “Theater of Satire” (1957), “Optimistic Tragedy” by V.V. Mayakovsky. V. Vishnevsky at the Moscow Drama and Comedy Theater (1956), “Saint Joan” by B. Shaw at Lenkom (1958), the opera “Not Only Love” by R. K. Shchedrin at the Bolshoi Theater (1962). A. G. Tyshler died on June 23, 1980. He was buried in Moscow at the Kuntsevo cemetery.

Aleksandraovich Deineka (1899-1969) - Soviet painter, graphic artist and sculptor, teacher. Academician of the USSR Academy of Arts (1947). People's Artist of the USSR (1963). Hero of Socialist Labor (1969). Lenin Prize laureate (1964). Member of the CPSU since 1960. Aleksandrovich Deineka was born on May 8 (20), 1899 in Kursk in the family of a railway worker. He received his primary education at the Kharkov Art School (1915-1917). The artist’s youth, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the Fine Arts section of Gubnadobraz, designed propaganda trains, theatrical productions, and participated in the defense of Kursk from the Whites. From 1919 to 1920, Deineka served in the Red Army, where he headed the art studio at the Kursk Political Administration and the “Windows of ROST” in Kursk. From the army he was sent to study in Moscow, at VKHUTEMAS at the printing department, where his teachers were V. A. Favorsky and I. I. Nivinsky (1920-1925). The years of apprenticeship and communication with V. A. Favorsky, as well as meetings with V. V. Mayakovsky, were of great importance in the artist’s creative development. Deineka’s creative image clearly and clearly manifested itself at the very first major exhibition in 1924 (the First Discussion Exhibition of Associations of Active Revolutionary Art), in which he participated as part of the “Group of Three” (together with A.D. Goncharov and Yu.I. Pimenov). In 1925 Deineka became one of the founders of the Society of Easel Painters (OST). During these years, he created the first Soviet truly monumental historical and revolutionary painting, “The Defense of Petrograd” (1928). In 1928, Deineka left OST and became a member of the artistic association "October", and in 1931 - 1932 - a member of the Russian Association of Proletarian Artists (RAPH). In 1930, the artist created posters that were expressive in color and composition: “We are mechanizing Donbass”, “Physical worker”. In 1931, works very different in their mood and theme appeared: “On the Balcony”, “Girl at the Window”, “Mercenary of the Interventionists”.

A new stage in Deineka’s work began in 1932. The most significant work of this period is the painting “Mother” (1932). During these same years, the artist created poetic works: “Night Landscape with Horses and Dry Herbs” (1933), “Bathing Girls” (1933), “Afternoon” (1932), “Behind the Curtain” (1933), etc. Along with Socio-political works also appeared with lyrical works: “Unemployed in Berlin” (1933), drawings filled with anger for the novel “Fire” by A. Barbusse (1934). Since the early 1930s, Deineka has been turning to the topic of aviation (“Paratrooper over the Sea”, 1934), illustrations for the children’s book by pilot G. F. Baidukov “Across the Pole to America” (published in 1938). He wrote a number of paintings, one of the most romantic - “Future Pilots” (1937). Historical theme found its embodiment in monumental works devoted mainly to pre-revolutionary history. The artist made sketches of panels for exhibitions in Paris and New York (not realized). Among the most significant works of the late 1930s and early 1940s is “Left March” (1940). During the Great Patriotic War, Deineka lived in Moscow and made political posters for the military defense poster workshop "TASS Windows". In 1942, together with the artist G. G. Nissky, he made a trip to the front near the city of Yukhnov. During this time he created intense and dramatic works. Painting “Outskirts of Moscow. November 1941" (1941) is the first in this series. Another work, “The Burnt Village” (1942), is imbued with deep suffering. In 1942, Deineka created the canvas “Defense of Sevastopol” (1942) filled with heroic pathos, which was a kind of hymn to the courage of the city’s defenders. Significant works of the post-war period include the paintings “By the Sea. Fishermen" (1956), "Military Moscow", "In Sevastopol" (1959), as well as mosaics for the foyer of the assembly hall of Moscow State University named after M.V. Lomonosov (1956), mosaics for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka's mosaics adorn the Moscow metro stations Mayakovskaya (1938) and Novokuznetskaya (1943). Deineka taught in Moscow at the VKHUTEIN (1928-1930), at the Moscow Printing Institute (1930-1934), at the Moscow State Academy of Arts named after V.I. Surikov (1934-1946, 1957-1963), at the Moscow Institute of Applied and decorative arts(1945-1953, director until 1948), at the Moscow Architectural Institute (1953-1957). He was a member of the presidium (since 1958), vice-president (1962-1966), academic secretary (1966-1968) of the department of decorative arts of the USSR Academy of Arts. On June 12, 1969, Aleksandrovich Deineka died. He was buried at the Moscow Novodevichy Cemetery (site No. 7). Deineka's works are in the collections: KKG im. A. A. Deineka, Tretyakov Gallery, State Russian Museum, Institute of Russian Realistic Art (IRRI), etc. Deineka’s works in connection with the development of the art market in Russia in last years, the demand for this artist’s works and the lack of new serious scientific descriptions of his work quite often become the object of falsification. The painting “Behind the Curtain” by Soviet artist Alexander Deineka was sold at the London Mac auction. Dougall's for 2 million 248 thousand pounds - almost 3.5 million dollars[

Ferdinand Hodler. Speech by Jena students in 1813. 1908 -1909 Ferdinand Hodler (German: Ferdinand Hodler; March 14, 1853, Bern - May 19, 1918, Geneva) - Swiss artist. One of the largest representatives of "modernity". In those years he painted landscapes and portraits in the spirit of realism. In 1875 he visited Basel, where he studied the work of Hans Holbein the Younger, especially scrupulously his painting “Dead Christ,” which later led to his attention to the theme of death. The works of the 1890s show the influence of several genres, including Symbolism and Art Nouveau. Hodler developed a style he called "parallelism", characterized by the symmetrical arrangement of figures in dance or ritual poses.

Pyotr Vladimirovich Williams (1902-1947) - Soviet painter, graphic artist, set designer and theater designer. Honored Artist of the RSFSR (1944). Winner of three Stalin Prizes of the first degree (1943, 1946, 1947). Peter Williams was born on April 17 (30), 1902 in Moscow in the family of scientist-technologist V. R. Williams (1872 -1957), the son of Robert Williams, an American bridge engineer who was invited to work in Russia in 1852 and remained forever in her. Since 1909 he attended the school-studio of V.N. Meshkov. In 1918, for a short time he was a student at the Faculty of Medicine of Moscow State University. In 1919-1924 he studied at VKHUTEMAS with such masters as V. V. Kandinsky, I. I. Mashkov, K. A. Korovin, D. P. Shterenberg. In 1922 he took part in the creation of the experimental Museum of Picturesque Culture. In 1922-1924 he was part of the group of “concretivists” that stood at the origins of OST (1925-1930). Professor at the Moscow Institute of Applied and Decorative Arts (1947). Since 1929 he worked as a theater artist. Since 1941, the main artist of the Bolshoi Theater has created an emotional, stylistically integral design for performances.

Sergei Alekseevich Luchishkin (May 30 (June 12) 1902, Moscow - November 27, 1989, ibid.) - Soviet artist, theater figure, Honored Artist Russian Federation. Biography and creativity Born into the family of a shopkeeper. In 1917-1923 he studied at declamation courses (since 1919 - State Institute of Words). In parallel, from 1919 to 1924 he studied at the Free Art Workshops with A. Arkhipov, and then (when they were transformed into VKHUTEMAS) with Lyubov Popova, Alexandra Ekster and Nadezhda Udaltsova. He was a member of the Method group (1924) and the Society of Easel Painters (OST; from the same year). Participant in the most radical artistic experiments of the 1920s. Following S. Nikritin, he developed conceptual tables and graphs - “projections” of ideas designed to replace the traditional work (Coordinates of the pictorial surface, 1924). In 1923-1929 he directed the Projection Theater studio, which combined scenography in the spirit of constructivism with the beginnings of the theater of the absurd. Until 1930, he repeatedly acted as organizer of city propaganda processions; in 1930-1932 he was the artistic director and director of the Theater of Small Forms of the Moscow Proletkult. In 1932 he joined the board of the Moscow Organization of the Union of Artists (MOSH). The playful principle combined with absurdity and tragedy is characteristic of Luchishkin’s best easel works (I really love life, 1924-1926; The ball flew away, 1926; Stretching out his neck, he guards the collective farm night, 1930). He acted as production designer for the film Circus (directed by G. Alexandrov, 1936). Later he was engaged in posters, design work at the All-Russian Agricultural Exhibition and similar opportunistic activities. He died on November 27, 1989 in Moscow at the eighty-eighth year of his life. Left memories.

Yuri Ivanovich Pimenov (November 13 (26), 1903, Moscow - September 6, 1977, Moscow) - Soviet painter, theater artist, set designer and graphic artist, teacher, professor. Academician of the USSR Academy of Arts (1962; corresponding member 1954). People's Artist of the USSR (1970). Winner of the Lenin Prize (1967) and two Stalin Prizes of the second degree (1947, 1950). Yuri Pimenov was born in Moscow into the family of a lawyer. In 1920-1925 he studied at VKhUTEMAS with V. A. Favorsky and S. V. Malyutin. Upon completion of his studies in 1925, he became one of the founders of the Society of Easel Painters. In the early period, Pimenov was greatly influenced by German expressionism, which largely explains the hysterical dramatic poignancy of his best paintings of these years: “Invalids of War” (1926, State Russian Museum), “Give me heavy industry!” (1927); “Soldiers go over to the side of the revolution” (1932; both are in the Tretyakov Gallery). Over the years, he moved to renewed impressionism, professing the creative principle “ beautiful moment", a light and artistic image-impression. In 1962 he was elected a full member of the USSR Academy of Arts. In 1966, Pimenov signed a letter from 25 cultural and scientific figures to the General Secretary of the CPSU Central Committee L. I. Brezhnev against the rehabilitation of Stalin

Members of the society Basmanov Pavel Ivanovich Bruni Lev Aleksandrovich Efimov Ivan Semenovich Zholtovsky Ivan Vladislavovich Istomin Konstantin Nikolaevich Kravchenko Alexey Ilyich Kuznetsov Pavel Varfolomeevich Kupreyanov Nikolay Nikolaevich Lebedev Vladimir Vasilievich Matveev Alexander Terentievich Mogilevsky Alexander Pavlovich Mukhina Vera Ignatievna Nivinsky Ignatievich Goldman Nina Ilyinichna Ostroumova-Lebedeva Anna Petrov -Vodkin Kuzma Sergeevich Saryan Martiros Sergeevich Ulyanov Nikolay Pavlovich Favorsky Vladimir Andreevich Shchusev Alexey Viktorovich

OMH - Society of Moscow Artists Society of Moscow Artists - founded in 1928, at the same time the charter and declaration were published. OMH included former members of the Moscow Painters, Makovets and Genesis associations, as well as members of the Jack of Diamonds. The members of the association developed Soviet themes and sought to convey the material diversity of the world with the help of plastic unity of color and form, a combination of energetic volume modeling and light and shadow modeling. The society’s declaration read: “We demand from the artist the greatest effectiveness and expressiveness of the formal aspects of his work, forming an inextricable unity with the ideological side of the latter.” In 1931, a number of OMH members moved to the AHR and the society disintegrated. The society had art and production workshops (MASTOMH).

Artists OMH The Society united up to 70 members and candidates Gerasimov, Sergei Vasilyevich Grabar, Igor Emmanuilovich Drevin, Alexander Davidovich Konchalovsky, Pyotr Petrovich Krymov, Nikolai Petrovich Kuprin, Alexander Vasilyevich Lebedev-Shuisky, Anatoly Adrianovich Lentulov, Aristarkh Vasilyevich Mashkov, Ilya Ivanovich Morgunov, Alexey Alekseevich Osmerkin, Aleksandrovich Rozhdestvensky, Vasily Vasilyevich Ryndin, Vadim Fedorovich Udaltsova, Nadezhda Andreevna Falk, Robert Rafailovich Feigin, Moisey Aleksandrovich Fonvizin, Artur Vladimirovich Chernyshev, Nikolai Mikhailovich Chirkov, Anton Nikolaevich Shestakov, N. I. Shevchenko, Alexander Vasilyevich and others.

Family Father - Pyotr Petrovich Konchalovsky (1839-1904), famous writer, translator and publisher. Father-in-law - Vasily Ivanovich Surikov (1848-1916), great Russian painter, academician. Wife - Olga Vasilyevna Surikova (1878-1958) Daughter - Natalya Petrovna Konchalovskaya (1903-1988), writer Son - Mikhail Petrovich Konchalovsky (1906 -?), painter Son-in-law - Sergei Vladimirovich Mikhalkov (1913-2009), children's writer, Hero of the Socialist Labor, author of the anthem of the USSR and Russia Grandchildren: Ekaterina Mikhalkova-Konchalovskaya (wife of the writer Yulian Semyonov) Andrei Sergeevich Konchalovsky (born 1937), film director, People's Artist of the RSFSR Nikita Sergeevich Mikhalkov (born 1945), film director, actor, People's Artist of the RSFSR, Chairman of the Union of Cinematographers of the Russian Federation Great-grandchildren: Egor Andreevich Mikhalkov-Konchalovsky (born 1966), film director Stepan Nikitich Mikhalkov (born 1966), actor Olga Yulianovna Semyonova (born 1967), journalist, publicist, actress Anna Nikitichna Mikhalkova (1974), actress Artyom Nikitich Mikhalkov (1975), actor Nadezhda Nikitichna Mikhalkova (1986), actress

Nikolai Andreevich Andreev (October 26, 1873, Moscow - December 24, 1932) - Russian sculptor and graphic artist, member of the Partnership of the Wanderers. Honored Artist of the RSFSR (1931). In his work he paid tribute to impressionism, symbolism, and realism. Author of portraits of revolutionary figures, founder of “Leninianism” (created about 100 sculptures and 200 graphic images V.I. Lenin). 1885-1891 - studied at the Stroganov Art and Industrial School. 1892-1901 - studied at the Moscow School of Painting, Sculpture and Architecture under the guidance of S. M. Volnukhin; experienced a strong formal influence from P. P. Trubetskoy. 1904 - joins the Association of Itinerants.

Ivan Dmitrievich Shadr ( real name - Ivanov; January 30 (February 11) 1887, Taktashinskoye, now Kurgan region - April 3, 1941, Moscow) - monumental sculptor. Ivan Dmitrievich Ivanov was born on January 30 (February 11), 1887 in the village of Taktashinsky, Chelyabinsk district, Orenburg province (now the village of Taktashi, urban settlement, working village of Mishkino, Mishkinsky district, Kurgan region). Father - Dmitry Evgrafovich Ivanov (May 1860 or June 17, 1862 - April 8, 1926), Mother - Maria Egorovna (nee Ovchinnikova, daughter of a peasant in the village of Ryapolovo, Kovrov district, Vladimir province (c. 1863 - November 23, 1935). The village of Taktashinskoye is a place of seasonal the work of carpenter Dmitry Evgrafovich Ivanov, and his permanent place of residence was the city of Shadrinsky district of the Perm province (now in the Kurgan region). Dmitry Evgrafovich's occupation was a carpenter. Ivan Dmitrievich was the third son in a family of twelve children (three babies died). They took him to Yekaterinburg to the factory of the merchants Panfilov, where he was first an errand boy, then a watchman and a loader. In 1901, Ivan escaped from the factory. Without any preparation, he successfully passed the drawing exam at the Yekaterinburg Art and Industry School, where he studied until 1906 with T. E. Zalkaln. In the summer of 1907, Ivan, together with fellow student Pyotr Drobyshev, went to travel around Russia to the places where Maxim Gorky had visited in his time. They visited the Kama, Volga, Don, traveled through the Caucasus, Ukraine, stopped in Moscow, Ivan walked to St. Petersburg. In the capital, after an unsuccessful attempt to enter the Academy of Arts, Ivan worked part-time, in particular, by street singing. One day his voice was heard by the director of the Alexandria Theater M.E. Darsky, who took an active part in the fate of the young man. He helped Ivan enter the Higher Drama Courses of the St. Petersburg Theater School so that he could study to become a singer. At the school, I. Shadr continued to draw and sculpt. His drawings came to I.E. Repin, who highly appreciated them. At the request of St. Petersburg connoisseurs of Ivan Dmitrievich’s talent, the Shadrinsk city government awarded him a scholarship. In St. Petersburg, Shadr also attended the drawing school of the Society for the Encouragement of Arts N. K. Roerich and the Musical Drama School. Ivan lived in the capital until 1908, then served for a year in the Russian Imperial Army.

In 1910, Ivan went abroad. First to Paris, where he was a student at the higher municipal courses of sculpture and drawing at the Académie de la Grande Chaumiere under the guidance of F. O. Rodin and E. A. Bourdelle. In 1911, Parisian teachers sent I. Shadr for an internship in Rome at the Institute of Fine Arts. In 1912, Ivan Dmitrievich returned to Russia. In Moscow he studies at the Moscow Archaeological Institute. In 1918, Shadr left for Omsk to take his family to Moscow, but remained in this city until 1921. There he gave lectures on art. He worked in the Political Education of the 5th Army and in the Sibrevkom. In 1921, as soon as the railway connection was restored, Shadr left for Moscow. In 1926, I. Shadr became a member of the Society of Russian Sculptors, later the Union of Soviet Sculptors. Ivan Dmitrievich Shadr died on April 3, 1941 in Moscow. He was buried in Moscow at the Novodevichy Cemetery (plot No. 2, tombstone - sculptor I. Rabinovich, architects G. P. Golts, A. A. Zavarzin. I. D. Shadr was married to Muscovite Tatyana Vladimirovna Guryeva (1893 - August 19, 1974) , buried next to her husband at the Novodevichy cemetery. There were no children in their family.

Creative activity I. D. Shadr in his workshop in Moscow is working on the sculptural composition “Girl with an Oar” (1st version) In his work, Ivan Shadr was looking for ways to create a monumental realistic sculpture. Numerous memorial structures created by him in the 1910-1930s were dedicated mainly to the victims of the First World War. They are associated with the traditions of modernity and national-romantic movements, they are distinguished by viscous, ponderous rhythms, and a predilection for metaphorical interpretation of the motive. human body, stone solidifying in the dead matter or freed from it, sometimes using elements of folk architecture. Among him early works The project “Monument to World Suffering” (1916) stands out. Later, this work was transformed into an even more ambitious project “Monument to Humanity”. In 1919, the Siberian Cadet Corps ordered Ivan Shadr a monument to his student, General Kornilov, for 18 thousand rubles. In the same year, the sculptor was preparing a project for the coronation of Admiral Kolchak, as well as a project for a monument in honor of the liberation of Siberia. In addition, the Kolchak government entrusted Shadr with the development of sketches of banknotes of the “Revival of Russia” series. However, these projects remained unrealized, since in November 1919 the Provisional All-Russian Government fled Omsk, and the city was occupied by Red Army units. In April 1920, I. Shadr undertakes to perpetuate the memory of the victims of the White Terror, buried in the city garden of Omsk. In May of the same year, he received an order from Sibrevkom for a monument to Karl Marx. In the summer, the statue was already ready and installed. In Omsk, Ivan Dmitrievich also worked on reliefs depicting Karl Marx, Karl and Wilhelm Liebknecht and Rosa Luxemburg. I. D. Shadr is the author of sculptures of the so-called “money men”: figures of a worker, a peasant, a Red Army soldier and a sower (plaster, 1922, Russian Museum; bronze castings - in the Tretyakov Gallery), created by order of Goznak for reproduction on banknotes. The first three sculptures became the basis for the release of the fourth standard set postage stamps RSFSR (DFA (ITC "Marka") No. 73 -85), the first standard issue of the USSR (DFA (ITC "Marka") No. 99 -194) and partially for the two subsequent ones (DFA (ITC "Marka") No. 281 -287 , 291 -295). The first artistic stamped postcard and stamped envelope in the USSR came out with Shadrovsky stamps. Sculptures of Ivan Dmitrievich were also reproduced on loan bonds and government securities of the USSR. The sculptor found prototypes of his heroes in the village of Prygovaya (Kolganova) in the Krestovskaya volost of the Shadrinsky district (now in the Iltyakovsky village council of the Shadrinsky district). In 1923, Shadr took part in the design of the All-Russian Agricultural and Handicraft Exhibition in Moscow. His sculptures were also demonstrated there and were a success.

In 1924, Ivan Shadr created the full-scale sculpture “Lenin in the Coffin,” which made him the main master of pre-war sculptural Leninism. Over 13 years, I. Shadr created 16 sculptural images of V. I. Lenin, including for the Central Museum of V. I. Lenin in 1934. One of his most significant works is a monument with an eleven-meter bronze figure, installed in 1927 on the territory of the Zemo-Avchala Hydroelectric Power Station named after V.I. Lenin (ZAGES) in Georgia. This is one of the first monuments to V.I. Lenin; it was dismantled in 1991. “Cobblestone - a weapon of the proletariat” (December Uprising Park, Moscow) Ivan Shadr created revolutionary romantic, generalized symbolic images, for example, the high relief “Fight with the Earth” (1922), the sculpture “Cobblestone - a weapon of the proletariat” (1927). The latter, in addition to Moscow, was installed in Chelyabinsk, Lvov, Shadrinsk, Mongolia and Romania. In 1926, Shadr went abroad: he visited France and Italy. In Paris, he sculpts a bust of L. B. Krasin, who was then the plenipotentiary representative of the USSR, and then repeats the portrait in marble. In 1931, Shadr created the tombstone of V. M. Fritsche. In 1934, Ivan Shadr began work on the sculpture “Girl with an Oar” for the Central Park of Culture. About the name of Gorky in Moscow. The main model of the sculptor was V.D. Voloshina, a student at the Moscow Institute of Physical Education. The sculpture was installed in the center of the fountain on the main thoroughfare of Gorky Park in 1935. However, it was criticized and in the same year it was moved to the Gorky Park of Culture and Leisure (Lugansk)|Park of Culture and Leisure of Lugansk. Its reduced copy is kept in the Tretyakov Gallery. At the end of the 1950s, at the insistence of the sculptor’s wife, I. Shadr’s plaster work was transferred to bronze. By the summer of 1936, I. D. Shadr created a new enlarged eight-meter sculpture made of tinted concrete. The model for her was the gymnast Zoya Bedrinskaya (Belorucheva). The new “Girl with an Oar” was installed in the center of the fountain in the same place. The sculpture was destroyed in 1941 during a bombing. It is mistakenly believed that the sculptures of Ivan Shadr served as prototypes for the creation of cheap plaster copies, which were massively installed in parks almost throughout the USSR. In fact, they were based on the work of the sculptor R. R. Iodko with the same name, but the figure of a girl was in a swimsuit and with an oar in her left hand, which he made for the park of the Dynamo water stadium in 936 1. At the end of the 1930s, Shadr worked on a project for a monument to A.S. Pushkin. In 1939 he created a sculpture by A. M. Gorky in the image of the Petrel (bronze, Tretyakov Gallery). In the same year, he prepared a more classical model of the Gorky monument. However, this monument was built near the Belorussky railway station in Moscow after the death of Ivan Dmitrievich by sculptor V. I. Mukhina with the help of N. G. Zelenskaya and Z. G. Ivanova. Most of the works of I. D. Shadr (in particular, “Storm of the Earth”, “Cobblestone - the weapon of the proletariat” and others) are in the Museum of Contemporary History of Russia in Moscow. I. D. Shadr is the author of the tombstones of N. S. Alliluyeva (1933; architect - I. V. Zholtovsky) and E. N. Nemirovich-Danchenko (1939) at the Novodevichy Cemetery in Moscow. Both tombstones are made of marble and granite. The tombstone for Nadezhda Alliluyeva was made by a sculptor commissioned by the Central Committee of the All-Union Communist Party of Bolsheviks. Ivan Shadr and sculptor P.I. Tayozhny were the authors of the model of the Order of Lenin, the sketch of which was handed over to them in the spring of 1930.

Sarra Dmitrievna Lebedeva ( maiden name- Dormilatova, (11) December 23, 1892, St. Petersburg - March 7, 1967, Moscow), master of sculptural portraiture. Honored Artist of the Russian Federation (1945), Corresponding Member of the USSR Academy of Arts (1958) Born into the family of an official. She studied at the School of Drawing, Painting and Sculpture of Mikhail Bernstein and Leonid Sherwood (1910-1914), worked in the sculpture workshop of Vasily Kuznetsov (1914). Since 1925 she lived in Moscow. Since 1926, member of the Society of Russian Sculptors. Participated in the implementation of the “monumental propaganda” plan. In the interwar twenty years she created many portraits of her contemporaries: Vyach. Ivanov (1925), Felix Dzerzhinsky (plaster, 1925), Alexander Tsyurupa (1927), Abram Efros (plaster, 1927), Valery Chkalov (1937), Solomon Mikhoels and Vera Mukhina (both plaster, 1939), Alexander Tvardovsky (plaster , 1943 and marble, 1950), Vladimir Tatlin (limestone, 1943-1944), Mariam Aslamazyan (1949), Konstantin Paustovsky (1956), etc. Among the best examples of Russian memorial sculpture is the tombstone of Boris Pasternak sculpted by Lebedeva at Peredelkinskoye cemetery (sandstone, 1965). The tombstone is a stele of strict forms with a romantic profile of the poet using the technique of in-depth relief. On the 40th anniversary of Pasternak’s death (2000), the monument by Lebedeva, which by that time needed restoration, was replaced an exact copy works of sculptor Dmitry Shakhovsky. Lebedeva also owns a portrait of Pasternak, made of limestone (1961-1963).

Matveev Alexander Terentyevich (August 13 (25), 1878, Saratov - October 22, 1960, Moscow) - Russian, Soviet sculptor, art critic; master and teacher, who with his creativity had a significant influence on the development of modern plastic art. One of the organizers, ideological inspirers and active participants many creative associations of the first third of the 20th century. Professor: TSUTR in Petrograd (1917), Academy of Arts (1918-1948; director 1932-1934). Doctor of Art History (1939). Honored Artist of the RSFSR (1931).

Vladi Mir Andreevich Favorsky (1886-1964) Russian and Soviet graphic artist, master of portraits, woodcuts and book graphics, art critic, set designer, muralist, teacher and theorist of fine arts, professor. Academician of the USSR Academy of Arts (1962; corresponding member 1957). People's Artist of the USSR (1963). Lenin Prize laureate (1962)

Lazar Markovich (Mordukhovich) Lisitsky (book graphics in Yiddish signed with the name Leizer (Eliezer) Lisitsky - אליעזר ליסיצקי November 10 (22), 1890, village of Pochinok, Smolensk province (now Smolensk region) - December 30, 1941, Moscow ) - Soviet artist and architect, also commonly known as "El Lissitzky". El Lissitzky is one of the outstanding representatives of the Russian avant-garde. Contributed to the emergence of Suprematism in architecture.

In 1921, the artist Konstantin Yuon, who was previously famous for his landscapes and depictions of church domes, painted the painting “New Planet”. There, a crowd of tiny people, actively gesticulating, watches the birth of a giant crimson ball. A little later, the same crimson ball appeared in the composition of Ivan Klyun, Malevich’s colleague. He is also in Kliment Redko’s painting “Midnight Sun”, and he is also held in the muscular hands of a worker from the painting of the same name by Leonid Chupyatov, a student of Kuzma Petrov-Vodkin.

Konstantin Yuon. New planet. 1921State Tretyakov Gallery

Leonid Chupyatov. Worker. 1928 arteology.ru

The coincidence of motifs among completely different artists is significant. Everyone feels changes on a planetary scale, but they do not fully understand what the role of the artist will be in this new world. No, this is not a selfish question about finding a place, this is an essential question - about new feature art.

It would seem that everything is as before: artists unite, disengage, rattle manifestos, organize exhibitions, move from group to group. However, after the revolution, a new and very active actor appears in their usual space - the state. It has power, it has multiple methods of encouragement and punishment: these include purchases, the organization of exhibitions, and various forms of patronage. “Whom I love, I give.”

And this is an unusual situation, because before the state was not too interested in artistic endeavors. Tsar Nicholas II once gave money for the publication of the magazine “World of Art,” but only because he was asked for it, he hardly read the magazine itself. And now the government is going to rule everywhere. And in a way that suits her.

Therefore, looking ahead, when in 1932 the state closes all artistic associations by decree, this will be a completely logical gesture on its part. It is impossible to control something that moves and changes appearance. Blooming complexity is, of course, good, but it sometimes resembles a mass brawl at a tavern; and if everything is made uniform, then the hostility will stop, and it will be easier to control art.

We’ll talk about enmity later, but now let’s talk about how the presence of an external force in the person of the state changes the conditions of the game. For example, group manifestos, which were previously addressed to the city and the world and looked quite defiant, now have a specific addressee. And the words that everyone is ready to reflect new revolutionary themes in their works very quickly take on the appearance of ritual spells - because the addressee, the state, invariably demands them. In general, these are no longer so much manifestos as declarations of intentions sent to superiors. Moreover, most artists are sincerely ready to serve the revolution - but with their own artistic means and in the way they understand it.

Speaking about post-revolutionary artistic associations, let's first try to highlight those that are not exactly associations, but rather schools. Some significant artist, teacher, some kind of guru - and his students. Such schools could indeed be purely educational enterprises, such as the Petrov-Vodkin school, which existed from 1910 to 1932, but they could also be formed as artistic communities.

For example, Unovis (“Approvers of the New Art”) is a community of students of Kazimir Malevich that existed in Vitebsk in 1920-1922. It was truly a unification - with a manifesto written by Malevich, with exhibitions and other collective events, with rituals and attributes. Thus, members of Unovis wore armbands with the image of a black square, and the organization’s seal also had a black square. The maximum program of the association was that Suprematism should play the role of a world revolution and spread not only in Russia, but throughout the world, becoming a universal language - such artistic Trotskyism. Having left Vitebsk, members of Unovis will find refuge in Petrograd Ginkhuk - State Institute artistic culture, scientific institution.

Members of the Unovis group. 1920 evitebsk.com

Classes in the Unovis workshop - Kazimir Malevich stands at the blackboard. September 1920 thecharnelhouse.org

The association, albeit of a strange kind, was also the school of another avant-garde, Mikhail Matyushin. In 1923, the Zorved group took shape (the name is derived from the words “vision” and “knowing”) with the manifesto “Not art, but life.” It was about expanded vision and training the optic nerve to form a new vision. Matyushin did this all his life, and this was clearly not how the country lived. Nevertheless, in 1930, Matyushin and another group of students organized the “Extended Observation Collective” (KORN) and managed to hold one exhibition. The works of the Matyushinites were most reminiscent of biomorphic abstraction in form; theory occupied a more significant place there than practice.

In 1925, Pavel Filonov’s school also received the status of an association; it was named “Masters of Analytical Art,” abbreviated as MAI. MAI did not have a special manifesto, but Filonov’s previous manifesto texts existed in this capacity - “Pictures Made” of 1914 and “Declaration of World Heyday” of 1923. They set out Filonov's method of analytical elaboration of each element of the picture, the result of which should be a formula. Many of Filonov’s works are called “Formula of Spring”, “Formula of the Petrograd Proletariat”. Then Filonov himself left MAI, and the school would exist until 1932 without a leader, but according to his behests.

But all these association schools, which gathered around the central figures of the old, pre-revolutionary avant-garde, now find themselves completely out of the mainstream. At the same time, the phrase of critic Abram Efros about the fact that the avant-garde “has become official art new Russia”, accurately records the state of affairs in the first years of the decade. The avant-garde is indeed influential, but it is a different avant-garde, differently oriented.

The simplest (although not the most accurate) is to say that the main plot of the twenties was the active confrontation between avant-garde artists and artists of the anti-avant-garde, which was very quickly gaining strength. But in the early twenties, avant-garde art experienced a crisis on its own, without any outside help. In any case, it is experienced by art with high ambitions, which is exclusively occupied with the search for a universal language and the preaching of a new vision. It is not in demand by anyone except a narrow circle of its creators, their adherents, friends and enemies from the same field. But now being in demand is important; Laboratory work with students in Inkhuk and Ginkhuk alone is not enough; it must be useful.

In this situation, the concept of production art is born. It partly reproduces the utopia of modernity - to transform the world, creating new forms of everything that a person encounters every day, to save a person with the right beauty. Everything should be modern and progressive - from clothes to dishes. And art in this case justifies its existence: it is applied, even useful. Suprematist and constructivist fabrics, porcelain, clothing, typography, books, posters and photography - avant-garde artists are now doing all this. These are Lyubov Popova, Varvara Stepanova, Alexander Rodchenko, El Lissitsky, Vladimir Tatlin and many others.

Sergei Chekhonin. A dish with the slogan “There will be no end to the kingdom of workers and peasants.” 1920

Varvara Stepanova in a dress made from fabric made according to her design. 1924State Museum fine arts them. A. S. Pushkina

Nikolay Suetin. Milk jug with lid from the Baba service. 1930Collections of the Museum of the Imperial Porcelain Factory / State Hermitage Museum

At the same time, it is interesting that Suprematist things - for example, dishes created with the participation of Malevich by his students - were not comfortable and did not even strive for it. Malevich thought in universal categories, and in this sense, his dishes - the so-called half cups - were akin to his designs for skyscrapers for people of the future: all this was not for those who live here and now. But constructivist objects found practical mass application; they had reasonable functionality: dishes could be used, clothes could be worn, buildings could be used for living and working.

Kazimir Malevich. Suprematist tea-set. Developed in 1918Museum of Fine Arts, Houston / Bridgeman Images / Fotodom

Kazimir Malevich. Architects layout. 1920sPhoto by Pedro Menéndez / CC BY-NC-ND 2.0

The ideological justification of industrial art took place in the society “Lef” (“Left Front of the Arts”) and in the magazines “Lef” and “New Lef” published by it. It was an association of writers that existed since 1922; Mayakovsky and Osip Brik set the tone there. And the conversation was mainly about literature - in particular, about the literature of fact, about the rejection of essays in favor of documentation, and also about working for social orders and life-building. But around Lef there were also constructivist artists and architects, for example the Vesnin brothers, Moses Ginzburg. On the basis of Lef, the Association of Modern Architects (OSA group) emerged.

Cover of Lef magazine, No. 2, 1923 avantgard1030.ru

Cover of Lef magazine, No. 3, 1923 thecharnelhouse.org

Cover of the magazine “New Lef”, No. 1, 1927 thecharnelhouse.org

Cover of the magazine “New Lef”, No. 3, 1927 thecharnelhouse.org

Cover of the magazine “New Lef”, No. 6, 1927Auction house "Empire"

Lef is, in its own way, the extreme point on the map of artistic associations of the twenties. At the other pole - AHRR - Association of Artists of Revolutionary Russia (later the name will be transformed into the Association of Artists of the Revolution and will lose one “r”). These are the late residual Itinerants and others. The Association of Traveling Exhibitions, which has been artistically irrelevant for thirty years, has existed all this time, recruiting artists from among the dropouts. Formally, the partnership ceases to exist only in 1923 - and its participants automatically become members of the AHRR.

AHRR says: we now have a new time, a revolution has happened, socialist construction is now underway. And art should simply honestly record this new time - its signs, plots, events. And don’t worry about the means of expression at all.

A small digression. At some point, part of Russian Facebook discovered the Akhrov artist Ivan Vladimirov. His films, which were exceptionally poorly executed, chronicled the first post-revolutionary years. How to rob noble estate. Like a dead horse lying there and the people tearing it apart, because it’s 1919 and there’s a famine. How the landowner and the priest are being tried - and now they will be shot. People began to re-post selections of Vladimirov’s paintings, commenting like this: it turns out that even in the first post-revolutionary years, artists were aware of all this horror. However, this is precisely today’s perception, and Vladimirov did not have such an assessment. He, like an akyn or like a dispassionate reporter, recorded what he saw - and he saw a lot. In addition, Vladimirov worked as a policeman.

It turns out that AHRR painting is the art of fact. Let us remember that Lef defended the literature of fact. At some ideological level, aesthetic opposites converge.

Or there was such an Akhrov artist Efim Cheptsov. He has a painting called “Retraining of Teachers.” A room is depicted, there are people in it, among them there are pre-revolutionary types (there are two of them), there are others. They read brochures, we can see the names of the brochures - “Third Front”, “Red Dawn”, “Workers’ Enlightenment”. But the question is - why is this retraining, and not just preparation, an exam? The simple-minded artist is trying to convey in the title of the painting the idea that he could not depict with paints - and could not, because the word “retraining” contains the idea of ​​duration. He seems to take the title “Retraining” from one of these brochures, not realizing that this is not a book, but a painting. And this happens very often.

The colorless and naive works of the artists of the early AHRR, with their lack of any aesthetic concern, are reminiscent of the early Itinerant movement, very early. When every concept of pictorial beauty was ideologically rejected: what kind of beauty is there when the world lies in evil and the task of art is to expose evil? Now the world, on the contrary, is developing revolutionaryly, but this is happening quickly, and you need to have time to capture all the events - is it so beautiful? The Red Army is winning, the village council is meeting, transport is being improved. All this should be depicted, documentary evidence should be left. The artist seems to voluntarily leave the picture; his individual presence is not present here. And this departure, paradoxically, brings the Akhrovites closer both to mass production art and to the fundamentally anonymous students of Malevich from Unovis, who did not sign their paintings.

Efim Cheptsov. Village cell meeting. 1924Photo by RIA Novosti, State Tretyakov Gallery

Mikhail Grekov. Trumpeters of the First Cavalry Army. 1934 Wikimedia Commons

A little later, in the thirties, this program would become the basis of socialist realism, whose credo would be “the depiction of reality in its revolutionary development.” But already in the 1920s, what the Akhrovites are doing resonates with many power structures - because it is a simple and understandable art. The main patrons of the AHRR are the military - the Red Army, the Revolutionary Military Council and People's Commissar Voroshilov personally. The artists work on a social order, and this is spelled out in the association’s program: this is not considered something reprehensible here. We fulfill current orders, that’s why we are current artists. And whoever has government orders has government money.

Between the designated poles - AHRR and Lef - the map of associations of the 1920s resembles an artistic nomadism. People move from group to group, there are so many of these groups, it’s impossible to list them all. Let's name just a few.

Some of them were formed by artists of a relatively older generation - those who had formed even before the revolution. For example, the Society of Moscow Artists is mainly former “Jacks of Diamonds”: Konchalovsky, Mashkov and others. In their manifesto they defend the rights of the ordinary picture, which the production workers deny - so here they are conservatives. But they say that this picture, of course, cannot be the same: it must reflect the realities of today and reflect them without formalism - that is, without excessive concentration on artistic techniques, supposedly at the expense of the content. It is characteristic that the discussion about formalism, which will give rise to repressions against the creative professions, is still about ten years away, but the word is already used with a negative connotation, and it is amazing that it is uttered by former brawlers and troublemakers. Fighting formalism is a kind of pochvenism: we have the primacy of content, and experiments with form are Western. The Society of Moscow Artists will leave behind the tradition of the so-called Moscow school - thick, heavy writing, and the former "jacks" will ideally suit the court in socialist realism.

Another association of “formers” - those who exhibited with both the World of Art and the Jacks, and at the symbolist exhibition Blue Rose - is the Four Arts. Here are Kuzma Petrov-Vodkin, Martiros Saryan, Pavel Kuznetsov, Vladimir Favorsky and many others. Four arts - because, in addition to painters, sculptors and graphic artists, the association also includes architects. Their manifesto does not state any single program - it is a community of people who value the individual. And in general, this is a very calm manifesto, toothless in its own way. There are ritual words about new themes, but the main emphasis is on the fact that plastic culture must be preserved. Many of the participants in the “Four Arts” will turn out to be teachers at Vkhutemas-Vkhutein and train students who will create “under-the-cupboard” art, not related to the triumphant socialist realism.

Let's name two more associations that are not very noticeable against the general background, but allow us to evaluate the breadth of the spectrum. Firstly, this is the NOZH (New Society of Painters), which existed from 1921 to 1924. This is a young landing in Moscow, Odessa residents predominated there - Samuil Adlivankin, Mikhail Perutsky, Alexander Gluskin. They managed to hold only one exhibition, but in their paintings, especially Adlivankin’s, one can feel the primitive style and comic intonation, which will almost never be found in Soviet art. This is realism - but with its own special intonation: a completely missed opportunity in the history of Russian art.

Samuel Adlivankin. The first Stalinist route. 1936Photo by Yuri Abramochkin / RIA Novosti

Amshei Nuremberg. Bourgeois bastard. 1929Wikimedia Commons / CC BY-SA 3.0; State Tretyakov Gallery

And secondly, this is Makovets. This association was created around the artist Vasily Chekrygin, who died at the age of 25, leaving behind amazing graphics. It included a variety of people - Lev Zhegin, Chekrygin's closest friend and an underrated artist himself; Sergei Romanovich, student and adept of Mikhail Larionov; Sergei Gerasimov, future socialist realist and author of the famous painting “Mother of the Partisan.” And the name of the society was invented by the religious philosopher Pavel Florensky, whose sister, Raisa Florenskaya, was also a member of Makovets. Makovets is the hill on which Sergius of Radonezh founded the monastery, the Trinity Lavra of St. Sergius.

The artists of Makovets were no strangers to the prophetic and planetary pathos of the avant-garde: they dreamed of a cathedral art that unites everyone, the symbol of which for them was the fresco. But since a fresco is impossible in a hungry, collapsed country, all art must be thought of as some approach to it, as sketches. Sketches for some of the most important texts about humanity - hence the remakes of old masters, the appeal to religious themes. It was very untimely art.

But very soon everything else will turn out to be marginal. By the second half of the decade, only two main forces remained on the field, opposing each other. But in the future, together they will have to form the signs of the “Soviet style.” This refers to AHRR and OST - the Society of Easel Painters, “the leftmost among the right-wing groups,” as they said about it. The most discussed works of those years were exhibited at OST exhibitions - “Defense of Petrograd” by Alexander Deineka, “The Ball Flew Away” by Sergei Luchishkin, “Aniska” by David Shterenberg and others. “Defense of Petrograd” is a kind of symbol of the times: a “two-story” composition, where in the upper register the wounded are returning from the front, and in the lower register they are replaced by a line of Red Army soldiers. The OST also included Alexander Labas, Yuri Pimenov, Solomon Nikritin, Peter Williams; many here came from the vanguard. And the face of the association was Deineka, who left OST several years before its closure. In Leningrad, the “Circle of Artists” society was a kind of backup to OST. Its face was Alexander Samokhvalov, who was a member of the society for only three years, but wrote “The Girl in a T-shirt” - the most life-affirming type of the era. It is characteristic that 30 years later the main character of the film about the 30s “Time, Forward!” will be styled after Samokvalov’s girl. - in everything, right down to the striped T-shirt.

Alexander Samokhvalov. Girl in a T-shirt. 1932Photo by A. Sverdlov / RIA Novosti; State Tretyakov Gallery

The very phrase “society of easel painters” declares an anti-Lef position. OST - for easel painting, for the painting, and Lef - for mass production and design, for dishes and posters. However, by the mid-1920s, AHRR was more influential than Lef: the production utopia had already outlived its active period. And in fact, the main dispute that OST is having is with AHRR - a dispute about what contemporary art should be. Instead of sluggish likeness and descriptiveness, the OST has sharp angles, editing, and a silhouette style of writing. The painting is graphic and resembles a monumental poster. The characters are necessarily young and optimistic, they play sports, drive cars, and are themselves like well-functioning machines. Here city and industrial rhythms are sung, harmonious teamwork, health and strength. A physically perfect person is also a spiritually perfect person; such new person and must become a citizen of the new socialist society.

Of course, this is not typical for all artists of the association, but only for its core. But in this ecstasy of technology and coordinated work, the Ostovites, paradoxically, are close to the constructivists from Lef, against whom their program seems to be directed.

And now, at the turn of the twenties, we see the beginning of some new confrontation. On the one hand, there is the pathos of OST, which will later turn into socialist realism. It is the joy of how wonderfully everything moves - people, trains, cars, airships and airplanes. How perfect the technology is. How wonderful collective efforts are, they lead to victory. And on the other hand, there are completely opposite emotions, themes and expressive means of “Makovets”, “The Four Arts” and others. This is silence and static: indoor scenes, intimate scenes, picturesque depth. People drink tea or read books, they live as if there is nothing outside the walls of the house - and certainly nothing majestic. They live as if following the words of Mikhail Bulgakov from The White Guard: “Never pull the lampshade off a lamp!”

And this quiet one, with lyrical and dramatic shades, was to go underground in the 1930s. And the cult of youth and proper control of mechanisms will lead to parades and sports holidays, to a feeling of unity with the jubilant crowd. But this will happen after the Central Committee of the All-Union Communist Party of Bolsheviks, with its 1932 resolution “On the restructuring of literary and artistic organizations,” bans all these organizations, and instead creates a single Union of Artists. And the next “imperial” period in the history of Soviet art, stretching over two decades, will begin. The dominance of socialist realism and the totalitarian ideology that feeds it.

Socialist realism:

global politicization of artistic culture of the 20s - 30s.

1) A group of artists created in 1922, the main goal of which was the artistic and documentary recording of the revolution:

a) The Wanderers ;

b) АХР (АХРР);

d) “World of Art”

2) Which artist’s painting is presented below:

c) -Vodkina;

3) What time creative community Mostly young people who graduated from VKHUTEMAS united:

b) The Wanderers;

c) AHR (AHRR);

d) “Blue Rose”

4) Founder of the battle genre in Soviet art, member of the Academy of Artists of the Russian Federation, author of “Tachanka”, “To the Detachment to Budyonny”, “Oxen in the Plow”:

A) ;

b) -Vodkin;

5) The Commonwealth, created in 1925, the participants of which were Vodkin:

c) AHR (AHRR)

d) “4 arts”

A) ;

A) ;

a) V. Maksimov;

c) O. Kiprensky;

9) A direction in Soviet art of the 1920s, whose representatives sought to construct the material world using technical achievements, functionality, logic and expediency of engineering and artistic solutions:

a) Pseudo-realism;

b) Eclecticism;

c) Constructivism;

d) Classicism

10) Member of the association “Jack of Diamonds”, author of the painting “Moscow Food: Bread”:

A) ;

11) Which project of the Vesnin brothers is presented below:

a) Palace of Labor in Moscow;

b) Dnepropetrovsk HPP;

c) Project of the Narkomtyazhprom building

a) M. Vrubel;

b) I. Kramskoy;

13) According to the design of which architect was this building built?

A)

c) I. Kramskoy

14) This architectural project remained unfulfilled, but it embodied the courage and talent of the architect, inspired by the scientific and technical discoveries of the early 20th century.

a) Palace of Labor;

b) “Tower of the Third International”;

c) Dnepropetrovsk hydroelectric power station;

d) Mausoleum named after.

15) Author of the films “Soviet Court”, “Rabfak is Coming”, “At the Old Ural Factory”, “Interrogation of Communists”:

16) This monument, erected in 1936, is made of silver stainless steel and has a height of 33m. Currently dismantled for renovation purposes?

a) Cobblestone is a weapon of the proletariat;

b) Worker and collective farmer;

c) Millennium of Russia

d) Top

17) Which artist’s painting is presented below?

a) V. Maksimov;

d) M. Ciurlionis

18) What style, which competed with constructivism, is often called “Stalinist classicism”:

a) Classicism;

b) Eclecticism;

c) Traditionalism;

d) Avant-garde

19) The designer of the Kropotkinskaya and Mayakovskaya metro stations in Moscow was:

A) ;

20) Architect of the Russian State Duma building:

In the fire and roar of the Civil War it was destroyed old life. Workers, peasants and the intelligentsia who accepted the revolution had to build a new world, and this required an enormous amount of human effort. Art played an important role in this struggle for a new life. The formation of a multinational state (1922) created a precedent unprecedented in the world for the formation of a multinational culture, which was conceived in the future as an international revolutionary culture of the new world (the definition of “socialist in content and national in form” - the fruit of “socialist realism” of Stalin’s time - was still to come ). 1920s – one of those periods, as we have seen, in the history of Soviet art when the search for one’s own paths just began. This is the time of existence of a variety of groups with their own platforms, manifestos, and systems of expressive means.

Association of Artists of the Revolution

An organization that openly and programmatically took revolutionary positions and enjoyed official support from the state, AHRR ( Association of Artists of Revolutionary Russia, since 1928 AHR – Association of Artists of the Revolution) arose in 1922 on the basis of the Association of Traveling Art Exhibitions, the Association for the Study of Contemporary Revolutionary Life, and also included some members of the Union of Russian Artists. The AHRR declaration declared the master’s civic duty to be “the artistic and documentary recording of the greatest moment in history in its revolutionary impulse.” Indeed, the members of the association sought to “artistically and documentarily” capture the life and life of workers, peasants, and Red Army soldiers, as evidenced by the names of their exhibitions: “Life and Life of Workers” (1922), “Life and Life of the Red Army” (1923), “ Life and way of life of the peoples of the USSR" (1926), etc. AHRR put forward the slogan of “heroic realism” as the foundation of the future of world art. "Ahrrovites", as a rule, worked in all the main genres of Soviet painting. The main place in their work was occupied by a revolutionary theme, reflecting state policy in art. A certain mythologization of history also occurred through this genre.

Leading role in the development of Soviet painting in the 1920s, in historical-revolutionary genre in particular, played by Isaac Izrailevich Brodsky (1883–1939), who worked directly on political orders and created his picturesque “Leniniana”, which laid the foundation for “cult” works - in fact, the main ones in Soviet art. He was one of those artists who determined the official line of development of modern Russian art. Brodsky created his first work about Lenin back in 1919. The artist, according to him, spent a long time looking for a synthetic image of “the leader and the people.” At first these were diametrical decisions: the artist would end up with one image of the leader, and the people listening to him would turn into a faceless mass (“Lenin and the manifestation”, 1919), then, on the contrary, Lenin was lost in this mass (“Speech by V.I. Lenin at a rally of workers of the Putilov plant in 1917”, 1929). Brodsky considered the most successful image of the leader in his office in Smolny ("Lenin in Smolny" 1930), the image, as it seemed to the artist, was simple and sincere, which explained the popularity of this painting in our society for many years. Documentarily faithful, extremely accurate representation of the objective world here turns into outright naturalism; the chamber solution of the theme contradicts the excessively large format of the canvas; its coloring is dry and boring. A master of great artistic culture, a student of the realistic school of I. E. Repin, who possessed deep professionalism, Brodsky worked a lot in other genres - portraits, landscapes; his merits in streamlining art education are undoubted, artistic process, which fell into a state of chaos as a result of numerous reformations. But it is truly said: “When a person gives himself entirely to lies, his intelligence and talent leave him” (V. G. Belinsky).

"Artistically and documentary" the events of the first years of the revolution were captured in his everyday paintings Efim Mikhailovich Cheptsov(1874–1950). Small in format, very modest in its means of expression "Meeting of the rural cell "(1924, Tretyakov Gallery) reflected an entire era in the life of the country, just as G. G. Myasoedov’s work “The Zemstvo Is Dining” once did - in the life of post-reform Russia (with the only difference, we note that Myasoedov was sharply critical of the innovations of the post-reform Russian village, and Cheptsov thoughtlessly and recklessly welcomed the destruction of the traditional way of life of the Russian peasantry). mathematician G. A. Sukhomlinov, even recalled how Cheptsov painted them at this meeting and then asked them to pose several more times. Thus, Chentsov’s painting began a new page in the history of the Soviet everyday genre, only lightly touching on a topic that some five years later ( 1929) was to become the greatest tragedy of millions.

Addresses battle themes in a romantic way Mitrofan Borisovich Grekov(1882–1934). Four horses stand out like a dark spot against the backdrop of the sun-hot steppe, rushing forward in a frantic gallop, the driver can barely hold the reins in his hands, sabers sparkle, machine guns are preparing for battle. This is his picture "Tachanka" (1925, PT), the unrestrained anthem of Budyonny’s First Cavalry Army (in the battles of which Grekov, by the way, himself took part), the victorious march sounds like it in the film "Trumpeters of the First Cavalry Army" (1934, Tretyakov Gallery): against the background of the blue sky and delicate green grass, copper pipes shine in the bright sunlight and the banner fluttering above the detachment glows.

Grekov was precisely one of those artists who sincerely accepted the ideas of the revolution and gave their talent to it, unwittingly contributing to the creation of a certain legend, a myth - in in this case about Budyonny's First Cavalry Army. Like many films of the 1920s and 1930s, created by sincere people, Grekov’s films inevitably contain a large share of falsehood. But more early work artist "To the detachment to Budyonny" (1923) seems to us much more profound. In the lonely figure of a horseman riding along a desert steppe bathed in the spring sun, intently sewing a red ribbon to his hat and leading a spare horse, one can see the author’s desire not only to show popular support for the Red Army, but also to see a (perhaps involuntary) reflection of the tragedy of the Russian peasantry and Cossacks, drawn into civil unrest. Grekov was a student of F. A. Roubaud, the author of the panorama of Sevastopol. In 1929 he created the first in Soviet art diorama "The Capture of Rostov" "(taken to Pyatigorsk during the Great Patriotic War, she died during a bombing), continuing the tradition of her teacher. Mitrofan Borisovich Grekov had a great influence on the formation of Soviet battle painting. The studio of military artists now bears his name.

The revolution sought to change everything, including - and above all - man, to create almost a new biological species, which now, with the light hand of A. A. Zinoviev, is usually called "homo soveticus ": ready to do anything in the name of an idea, a strong-willed and purposeful, uncompromising member of the team, ascetic in everyday life and unyielding in struggle. This mythology found expression primarily in a picturesque portrait. S. V. Malyutin and G. G. Ryazhsky work in the portrait genre.

Sergei Vasilievich Malyutin (1859–1937) wrote in 1922 portrait of writer-fighter Dmitry Furmanov (TG). In an overcoat thrown over his shoulders, with a book in his hands, the recent commissar of the Chapaev division is presented in a state of deep thoughtfulness and intense inner life. In these portraits the old Russian problem of “intelligentsia and revolution” finds its solution; people are shown who managed to fit into the new life.

In the 1920s It is natural to turn to a portrait, in which an attempt is made to combine purely individual features with typical ones, characteristic of a certain era, reflecting the social and public face of the model. N.A. Kasatkin paved the way here (“For studying. Pioneer with books”, 1926; "Vuzovka" 1926; "Selkorka ", 1927). Georgy Georgievich Rizhsky(1895–1952) continues the development of this type of portrait. He left a mark on painting with his generalized image of a Soviet woman who took an active part in the construction of a new world. " Delegate "(1927, Tretyakov Gallery), "Chairwoman" (1928, Tretyakov Gallery) - this is not an individual portrait, but a portrait-picture, representing the type of people born of a new life, which they themselves build, strong-willed, almost fanatical (“Chairwoman”), integrity of silhouette and colorful spot, point of view somewhat from below should enhance the impression of significance and monumentality, but with all this in the images there is an undoubted straightforwardness, simplicity, “illustration of an idea,” and therefore falsehood.

IN landscape genre The main focus, naturally, is on the image of a country under construction, rebuilding its life and restoring its economy. This is how the industrial landscape is created Boris Nikolaevich Yakovlev(1890–1972), one of the organizers of the AHRR. Picture " Transport is getting better" (1923, Tretyakov Gallery) was destined to become a definite milestone in the development of Soviet landscape painting. Against the backdrop of the yellowish-golden morning sky, the railway station, which has only recently begun to operate, comes to life: the track lines stretch into the distance, you can almost feel the roar of locomotives in the locomotive smoke.

During the years of restoration National economy In a gigantic country destroyed by the turmoil, this industrial landscape was supposed to appear as a symbol of creation. At the same time, in Yakovlev’s painting the development of the traditions of the urban landscape, so characteristic of Russian painting of the 18th–19th centuries and especially the late 19th–early 20th centuries, found direct expression. The lyrical landscape during these years was developed in the work of K. F. Yuon (“ Domes and swallows", 1921), A. A. Osmerkina ( "Wash. White nights" 1927), V. N. Baksheeva ( "Blue Spring" 1930), V.K. Byalynitsky-Biruli ( "Blue March" 1930) etc.

Society of Easel Artists. As already noted, AHRR united mainly artists of the Peredvizhniki movement of the older and middle generation. Legally, the AHRR was associated with a youth association - OMAKhRR, founded in 1925 in Leningrad by students of the Academy of Arts, which was later joined by students of the Moscow Vkhutemas. In 1921, graduates of Vkhutemas created " New Society of Painters " (KNIFE) and the Society of Artists "Being", which were mentioned above in connection with the question of the traditions of the “Jack of Diamonds”. KNIFE existed for a very short time (1921–1924), Genesis (1921–1930) organized seven exhibitions. Later, young people - A. A. Deineka, Yu. P. Pimenov, A. D. Goncharov and others, also mainly students of Vkhutemas, under the leadership of D. P. Shterenberg, became part of Societies of easel painters – OST (1925). The “Ahrrovites” were rather artists who recorded facts, often unable to avoid naturalism and superficial depiction of everyday life. The “Ostovtsy” fought for a complete easel painting that aspired to generalization, in which they sought to convey the spirit of modernity, as they understood it, the life of a new, industrial Russia, and, above all, a new man - the builder of this industrial world, resorting to a minimum of expressive means, but very dynamic. The image of an athlete becomes a favorite (hence the image of competitions, cross-country races, sprinters, football players, gymnasts).

"Ostovtsy" is not based on the traditions of the Peredvizhniki movement with its everyday life and description, but turns to the dynamics and deformation of expressionism, fragmentary composition, which could be learned from the impressionists, to the laws of lapidary monumental painting. A typical OST work was the painting Alexander Alexandrovich Deineka (1899–1969) "Defense of Petrograd" (1928, exhibited at the exhibition "10 Years of the Red Army"). It most acutely reflected the poetics of the “Ostovtsy”: a certain rhythm (measured - the lower ranks of armed people going to defend Petrograd, and ragged, with pauses - a group of wounded on the bridge), the sharp expressiveness of the brittle line of the silhouette, the graphic clarity of the drawing, plasticity and laconicism images, stinginess, even schematism of color, built on the juxtaposition of gray and black interspersed with brown in faces and clothes, making OST painting similar to graphics, primarily to posters. The contrast between the upper and lower tiers in Deineka’s painting, the alternation of figures and pauses between them give it dramatic tension, conveying the harsh and cruel rhythms of the harsh era of the first revolutionary decade. The visual language of the painting gives us an idea of ​​Deineka’s future work.

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• A group of artists created in 1922. Association of Artists of Revolutionary Russia (akhrr). OPH - Society for the Promotion of Arts