The fate of those who did not submit to communist dictates was, as a rule, tragic. The most talented representatives died in concentration camps and dungeons of the NKVD Soviet culture: O. Mandelstam, who wrote the poem “We live beneath us without feeling the country...”, I. Babel, who vividly described the events civil war in the work “The First Horse”, director V. Meyerhold, journalist M. Koltsov. Only 600 members of the Writers' Union were repressed. Many cultural figures, for example the writer A. Platonov, artists P. Filonov, K. Malevich and others, were deprived of the opportunity to publish their books and exhibit paintings. Many outstanding works created in those years did not reach the reader and viewer immediately. Only in 1966 was M. A. Bulgakov’s novel “The Master and Margarita” published, in 1986-1988 “The Juvenile Sea”, “The Pit” and “Chevengur” by A. P. Platonov were published, in 1987 “Requiem” was published. A. A. Akhmatova.
The paths of ideological and political self-determination and the life destinies of many artists during this turning point were not easy. For various reasons and in different years, great Russian talents ended up abroad, such as: I.A. Bunin, A.N. Tolstoy, A.I. Kuprin, M.I. Tsvetaeva, E.I. Zamyatin, F.I. Shalyapin, A.P. Pavlova, K.A. Korovin and others. Before others, A.N. realized the impossibility of living and working outside his homeland. Tolstoy, who returned from emigration in 1922.
Big role in artistic life countries played literary and artistic magazines. New magazines such as:
- "New world",
- “Red news”,
- "Young guard",
- "October",
- “Star”,
- “Print and revolution.”
Many outstanding works of Soviet literature were first published on their pages, critical articles, heated discussions took place. The production of newspapers, magazines, and books has increased. In addition to all-Union and republican newspapers, almost every enterprise, factory, mine, and state farm published its own large-circulation or wall newspaper. Books have been published in more than 100 languages. The radioification of the country took place. Radio broadcasting was carried out by 82 stations in 62 languages. There were 4 million radio points in the country. A network of libraries and museums developed.
By the mid-30s, new works appeared. M. Gorky’s novel “The Life of Klim Samgin” (1925-1936) is published. Sholokhov’s novel “Quiet Don” (1928-1940) tells the problem of man in the revolution, his fate. The image of Pavel Korchagin, the hero of N. Ostrovsky’s novel “How the Steel Was Tempered” (1934), became a symbol of heroism and moral purity. The theme of industrialization is reflected in the works of L. Leonov “Sot”, M. Shaginyan “Hydrocentral”, V. Kataev “Time Forward”, I. Ehrenburg “Without Taking a Breath”. Many works were dedicated to national history. These are “Peter I” by A. Tolstoy, “The Death of Vazir-Mukhtar” by Y. Tynyanov, M. Bulgakov’s drama “The Cabal of the Saints” and “ Last days” A.S. Pushkin.
S. Yesenin, A. Akhmatova, O. Mandelstam, B. Pasternak gave brilliant examples of poetry in their work. M. Zoshchenko, I. Ilf and E. Petrov successfully worked in the genre of satire. The works of S. Marshak, A. Gaidar, K. Chukovsky, B. Zhitkov became classics of Soviet children's literature.
Cultural ties with foreign countries developed. S. Yesenin and V. Mayakovsky made trips abroad. The works of M. Gorky, V. Mayakovsky, A. Tolstoy, V. Ivanov, K. Fedin, I. Ehrenburg, B. Pilnyak, I. Babel were published abroad. A. Tolstoy, B. Pasternak, M. Sholokhov, I. Ehrenburg, M. Koltsov, V. Vishnevsky, A. Fadeev took part in the work of the I and II World Congresses of Writers in Defense of Culture in 1935 in Paris and in 1937 in Valencia .
Many theater groups emerged. A major role in the development of theatrical art was played by the Bolshoi Drama Theater in Leningrad, whose first artistic director was A. Blok, the theater named after. V. Meyerhold, theater named after. E. Vakhtangov, Moscow Theater named after. Mossovet.
The mid-20s saw the emergence of Soviet drama, which had a huge impact on the development of theatrical art. The largest events of the theater seasons of 1925-1927. steel “Storm” by V. Bill-Belotserkovsky in the theater. MGSPS, “Yarovaya Love” by K. Trenev at the Maly Theater, “Fracture” by B. Lavrenev at the Theater. E. Vakhtangov and at the Bolshoi Drama Theatre, “Armored Train 14-69” by V. Ivanov at the Moscow Art Theater. Classics occupied a strong place in the theater repertoire. Attempts at a new reading of it were made as academic theaters(“Warm Heart” by A. Ostrovsky at the Moscow Art Theater), and “left” (“The Forest” by A. Ostrovsky and “The Inspector General” by N. Gogol at the V. Meyerhold Theater).
While drama theaters had restructured their repertoire by the end of the first Soviet decade, the classics continued to occupy the main place in the activities of opera and ballet groups. The only major success in reflecting a modern theme was the production of R. Glier’s ballet “Red Poppy” (“Red Flower”).
L.V. performed in Western Europe and America. Sobinov, A.V. Nezhdanova, N.S. Golovanov, the troupe of the Moscow Art Theater, the Chamber Theater, the Studio named after. E. Vakhtangov, Quartet of ancient Russian instruments
The musical life of the country in those years is associated with the names of S. Prokofiev, D. Shostakovich, A. Khachaturian, T. Khrennikov, D. Kabalevsky, I. Dunaevsky and others. Young conductors E. Mravinsky, B. Khaikin came to the fore. Musical ensembles were created, which subsequently glorified the national musical culture: Quartet named after. Beethoven, the Great State Symphony Orchestra, the State Philharmonic Orchestra, etc. In 1932, the Union of Composers of the USSR was formed.
The growth in the popularity of cinema was facilitated by the appearance of domestic sound films, the first of which were “A Way to Life” in 1931 (directed by N. Eck), “Alone” (directed by G. Kozintsev, L. Trauberg), “Golden Mountains” (directed by S. Yutkevich). Best films In the 1930s they talked about contemporaries (“Seven Braves”, “Komsomolsk” by S. Gerasimov), about the events of the revolution and civil war (“Chapaev S. and G. Vasilyev,” “We are from Kronstadt” by E. Dzigan, “Deputy of the Baltic” I. Heifetz and A. Zarkhi, trilogy about Maxim directed by G. Kozintsev and L. Trauberg). At the same time belong musical comedies G. Aleksandrova “Cheerful guys”, “Circus”.
In 1936, the title of People's Artist of the USSR was established. The first to receive it were K. S. Stanislavsky, V. I. Nemirovich-Danchenko, V. I. Kachalov, B. V. Shchukin, I. M. Moskvin, A. V. Nezhdanova.
As in other forms of art, a method was approved in painting socialist realism. The highest achievements of Soviet artists were considered to be paintings by B. Ioganson (“Interrogation of a Communist”), B. Grekov and his school, dedicated to military themes, portraits of M. Nesterov, P. Korin, I. Grabar, works by A. Deineka, glorifying the healthy, strong man. Ceremonial portraits of the leaders of the people became extremely widespread.
Soviet sculptors focused on creating monuments depicting V.I. Lenin, I.V. Stalin, other leaders of the party and state. Each city had several monuments to leaders. The sculptural group “Worker and Collective Farm Woman” created by V. Mukhina, depicting two steel giants, was considered a masterpiece of monumental art of that time.
The 30s became for national culture a time of radical change, reflecting the complex processes and achievements of the history of Soviet society. It was at this time that the command-administrative management system was finally formed, headed by the political leadership grouped around I.V. Stalin. It is not surprising that art was given special attention close attention in order to put artistic activity in the country under strict control, which, if not excluding, then severely limited the freedom of creative pursuits. This policy generally achieved its goal: many writers, artists, musicians and other artists sought to respond to such a “social order.” The complexity of the situation was this. that, along with unprincipled opportunists, honest artists also followed the plans of the regime, accepting the guidelines imposed by force as an inevitable dictate of the time and even sincerely believing in the beneficence of the changes being made.
A powerful and effectively operating propaganda machine supported the ideas and sentiments of social optimism, especially since certain achievements were evident. The ideas of collectivism were still alive; many artists were still inspired by the ideal of a human fighter, confident in tomorrow and capable of setting conscious goals and achieving them, drawing along a cohort of like-minded people. The persistent desire of many artists to instill in themselves and their audiences a sense of pride in the real, and sometimes illusory, achievements of a developing society is striking. It is important to emphasize the role of such a psychological attitude, since without taking it into account it is difficult to understand why prominent, gifted musicians contributed to the establishment of the ideological foundations on which the theory and practice of Stalinism were built.
The decisive factor that determined the new properties of music of the 30s was Soviet mass song. Of course, there was nothing unexpected in this: even in the 20s, the song contained the most progressive and dynamic trends in the transformation of musical consciousness, in the birth of a multi-component and heterogeneous intonation structure of modern times in terms of stylistic origins. But the mass song of the 30s is a qualitatively new phenomenon, capturing a kind of musical style era to the extent that it finds expression in catchy and succinct song generalizations. The mass song of the 30s by no means exhausted the intonation structure of its time, but it stood at the forefront, and it reflected significant shifts in the musical consciousness of the people. One of the leading features of song creativity of the 30s was the leading position of the composer's song, created by such recognized masters as I. Dunaevsky, M. Blanter, A. Alexandrov, V. Zakharov, and many others.
The special catchiness and infectiousness of song generalizations, picked up by masses of people, determined the absolutely exclusive role of the genre in the system of mass propaganda. The song, as an important component of “custom art,” turned out to be much more effective than newspaper rhetoric, scientific propaganda and statistical materials designed to demonstrate the advantages of a social system governed by command-administrative methods. Melodies of praise to the greatness and wisdom of the great helmsman, carried on the wings, and faith in the omnipotence of the army and its leaders, capable of defeating the enemy “with little blood, with a mighty blow,” constitute one of the main themes of the songwriting of the 30s.
And yet, it would be one-sided to evaluate the Soviet mass song of those years only in this way. The most prominent masters of the song genre raised it to such previously unprecedented heights, which had not been achieved before in the history of Russian mass music. Without such a rise in the genre in the 30s, the mass song would not have been able to play its truly exceptional role during the Great Patriotic War.
In the movement of the song to the listener in the 30s, the role of the media increased significantly, where sound cinema joined the previous, previously mastered ones. The song comes off the screen, goes out of cinema halls onto the street and square, is picked up by masses of people and spreads throughout the country. Radio and the gramophone record also become a powerful means of ensuring the movement of songs into everyday life, its impact on the musical consciousness of millions.
But state-owned enterprises were far from limiting themselves to releasing discs with recordings of popular songs - the lion's share of their output was pop music produced domestically and abroad. The attitude towards it changed radically: the importance of the “light genre” in the life and everyday life of people was understood and realized. Although the inertia of sweeping condemnation of the “light genre” still made itself felt in the speeches of critics, the administrative prohibitions were practically lifted. “During these very years, cultural parks flourished especially magnificently, fireworks were launched especially often, and especially many carousels, attractions and dance floors were built. And never in the country have they danced and sung so much as in those years.” Music was needed for dancing, among which fashionable foxtrots and tangos, presented in a jazzy manner, still reigned. There was also a need for intonation-expressive gypsy singing, which was very popular in those years. The sweet cantilena of Neapolitan melodies, the vibrating sounds of the ukulele, fashionable hits from foreign musical films accompanied by the frequent beat of tap dancing - all these phenomena of the then “mass culture” were replicated in film copies and records, while polished Hollywood beauty often coexisted with really high examples of popular music. foreign music - vocal and instrumental. The latter includes the music for the film “The Great Waltz”, which caused an explosion of passion for the great J. Strauss. The melodies of Charlie Chaplin's first sound films and the lively songs of the Hungarian film actress Francesca Gaal, beloved by Soviet audiences, were also heard.
CULTURAL REVOLUTION It was aimed at: The Cultural Revolution provided for: In the USSR in 2010. XX century The Cultural Revolution occurred. It was aimed: 1. To change the social composition of the post-revolutionary intelligentsia, 2. To break with the traditions of the pre-revolutionary cultural heritage. The Cultural Revolution provided for: 1. Elimination of illiteracy, 2. Creation of a socialist system of public education and enlightenment, 3. Development of science, literature, art under party control.
Fine arts In the 1930s, significant changes took place in the visual arts. Despite the fact that the Partnership continues to exist in the country traveling exhibitions and the Union of Russian Artists, new associations appear in the spirit of the times - the Association of Artists of Proletarian Russia, the Association of Proletarian Artists, artist F. Shurpin 1930, artist G. Klutsis
Socialist realism By the mid-30s. universally obligatory for Soviet art artistic method the method of socialist realism was announced (depicting reality not as it is, but as it should be from the point of view of the interests of the struggle for socialism). Decisive events in this sense were the creation in 1934 of the Union of Soviet Writers and a number of ideological campaigns. Nikolaev K. "Laying a railway track in Magnitogorsk"
M. Grekov. "Trumpeters of the First Cavalry Army", 1934 Tikhova M. "Sculpture laboratory of the Lomonosov porcelain factory"
POSTER ART During the period of the civil war and intervention, the political poster was completely separated from other types of artistic graphics (advertising, posters, political drawings). The poster is characterized by a striking visual image, prompt response, and accessibility of the content. This was very important for a country in which most of the population was illiterate. KUKRYNIKSY Efimov B., Ioffe M., 1936
EASEL PAINTING Soviet easel painting has a craving for monumental, significant forms and images. Painting is becoming increasingly broader in subject matter and less sketchy in style. "IN easel painting heroic generality penetrates.” One of the most significant representatives of easel painting of this period is Boris Ioganson. He introduces “new revolutionary content in tune with the era” into his works. Two of his paintings are especially popular: “Interrogation of Communists” (1933) and “At the Old Ural Factory” (1937). “Interrogation of communists” “At the old Ural plant”
MONUMENTAL PAINTING In the 1990s, monumental painting became an obligatory part of all artistic culture. It depended on the development of architecture and was firmly connected with it. Pre-revolutionary traditions were continued at this time by Evgeniy Lanceray, who painted the restaurant hall of the Kazansky railway station (1933), demonstrating his desire for a flexible baroque form. Deineka also made a great contribution to monumental painting at this time. His mosaics of the Mayakovskaya station (1938) were created using modern style: sharpness of rhythm, dynamics of local spots of color, energy of angles, convention of depicting figures and objects. Favorsky, a famous graphic artist, also made a contribution to monumental painting: he applied his system of form construction, developed in book illustration, to new tasks. His paintings of the Museum of Protective Motherhood and Infancy (1933, together with Lev Bruni) show his understanding of the role of the plane, the combination of frescoes with architecture based on the experience of ancient Russian painting.
LANDSCAPE A variety of stylistic directions is achieved: In the 1980s, the era of the well-founded method of socialist realism in art in general, and painting in particular, began in the USSR. A variety of stylistic directions is achieved: 1. Lyrical line of landscape painting, 2. Industrial landscape.
PORTRAIT GENRE The development of pictorial portraiture in the avant-garde style of the “first wave” had exhausted itself by the 1930s. In the portrait genre, the techniques and stylistics of a realistic solution to the image of a contemporary were again in demand, while the ideological, propaganda function of the portrait was declared as one of the main tasks. M. Nesterov “Portrait of Academician I.P. Pavlov” 1930 Nesterov M. “Portrait of the artists P.D. and A.D. Korinykh.", 1930
RESULT: The results of the transformations of the first years of Soviet power in the field of culture were far from ambiguous. On the one hand, certain successes were achieved in eliminating illiteracy, there was a rise in the activity of the creative intelligentsia, which was expressed in the organization of new and the revival of old societies and associations, and the creation of values in the field of spiritual and material culture. On the other hand, culture became part of state policy, coming under the control of the party and government apparatus.
1917 The Soviet government, signed by V.I. Lenin, issued a decree on the nationalization of opera houses, the former “imperial” theaters (Bolshoi in Moscow and Mariinsky in Petrograd). In 1918, V.I. Lenin signed a decree on the nationalization of the Moscow and Petrograd conservatories and transferring them to the jurisdiction of the People's Commissariat of Education “on equal rights with all higher educational institutions.” The stage of “state music construction” began - the organization of folk music schools, music publishing houses, theater business, and concert associations.
Many prominent representatives of the older generation of musical figures: A. Glazunov, R. Glier, K. Igumnov, A. Goldenweiser, N. Myaskovsky, B. Asafiev, L. Sobinov, A. Nezhdanova and others - devoted their strength and experience to musical educational work among the masses, organized popular concerts and lectures.
Folk music takes on an innovative character. Russian songs, battle songs, military marching songs, old revolutionary songs are being remade, re-intonated, and new revolutionary texts are written for them. An unnamed collective author creates a Soviet folk song about the heroes of the revolution and civil war: “Hero Chapaev walked through the Urals,” “Gay, on the road,” “Execution of the communards,” “We will bravely go into battle.” Did a lot for propaganda folk song the choir of M.E. Pyatnitsky, after the revolution received the right to become a permanent group, and in the 20s. transformed into State Russian folk choir. Composers A. Kastalsky, G. Lobachev, D. Vasilyev-Buglay and others contributed to the development of folk songwriting. The foundations of a professional Soviet song culture began to be laid, based on the traditions of folk song and reflecting the desire of composers to bring their work closer to modernity. The songs of Dmitry Pokrass “March of Budyonny” to the text by A. D’Actil, “Seeing Off” by D. Vasilyev-Buglai to the text by Demyan Bedny, “Song of the Commune” by A. Mityushin to the text by V. Knyazev and, finally, appear best song of that time, “Across the Valleys and Over the Hills” by A. Alexandrov, the melody of which was reported to the composer by the partisan P. Parfenov.
The first post-revolutionary years were marked by a great revival of musical, theatrical and concert performance activities. The basis of the musical repertoire initially consisted of the best examples of Russian and foreign classics. Along with the largest performers - artists of the older generation (F. Shalyapin, L. Sobinov, A. Nezhdanova, G. Pirogov, I. Ershov), M. Polyakin, G. Neuhaus, N. Golovanov, V. Barsova, N. Obukhova begin to perform , K. Saradzhev and very young D. Oistrakh, L. Oborin, G. Ginzburg, I. Kozlovsky, M. Maksakova, S. Preobrazhenskaya. The foundations of the Soviet performing school are laid, headed by outstanding musicians K. Igumnov, A. Goldenweiser, S. Kozolupov, L. Nikolaev. Subsequently, Soviet performing arts were improved, state Russian and national musical groups were created: the Symphony Orchestra of the Leningrad Philharmonic, the Leningrad Academic Choir, the Ukrainian Choir “Dumka”, chamber ensembles-quartets (named after Glazunov, Beethoven, Komitas); The Red Army Song and Dance Ensemble is organized under the direction of A. Alexandrov. Completely new forms of concert life also emerged - concerts and rallies. They were of a propaganda nature and usually included congresses, conferences, rallies and other large public events.
In 1927, Soviet musicians took part for the first time in the international Chopin piano competition in Warsaw, where L. Oborin won first place.
Interest in music science and criticism has increased noticeably. Soviet musical periodicals were created. In the national republics, with the help of Russian composers, a musical culture that was “socialist in content and national in form” developed.
The problem of innovation was sometimes solved in a simplified, schematic manner, without connection with modernity and the traditions of classical art. This affected primarily the activities of such organizations as the Association modern music(1923-1931) and the Russian Association of Proletarian Musicians (1924-1932).
The Association of Contemporary Music (ACM), motley and heterogeneous in composition, united most of the old musical intelligentsia and the most “left-wing”-minded youth. The composers who were part of it created a number of serious and interesting works; it did not have a clearly expressed ideological platform.
The song and choral creativity of young composers A. Davidenko, M. Koval, V. Bely, N. Chemberdzhi and others, closely associated with folk song traditions, developed successfully. The most striking examples of the new style were the songs and choruses of A. Davidenko “At the Tenth Mile”, “The Street Will Be Worried”, “Budyonny’s Horse”, lyrical songs by M. Koval, songs by V. Bely, etc.
The first operas appeared on the themes of the civil war (“For Red Petrograd” by A. Gladkovsky and E. Prussak), historical and revolutionary (“Stepan Razin” by P. Triodin, “Son of the Sun” by S. Vasilenko, “Zagmuk” by A. Crane).
A major achievement was the ballet “The Red Poppy” by R. Gliere, in the bright and emotional music of which the composer, for the first time in the history of this genre, embodied the theme of friendship between peoples and revolutionary struggle.
In the Soviet symphonic music themes of modernity, revolution, civil war, and the heroic revolutionary past were reflected (the 5th and 6th symphonies of N. Myaskovsky, “Symphonic Monument 1905-1917” by M. Gnessin, “Funeral Ode” by A. Crane). Works were created in the spirit classical traditions, based on folk song material - the 8th symphony of N. Myaskovsky, “Cossacks” by R. Gliere, the 3rd symphony of A. Gedike, “Mtsyri” by M. Ippolitov-Ivanov. D. Shostakovich's talented 1st Symphony quickly gained worldwide fame. A number of works with pronounced modernist tendencies appear - “The Factory” by A. Mosolov, “Tales of the Plaster Buddha” by L. Knipper, etc.
Musical culture of the 30s.
In 1932 the Union was organized Soviet composers, which marked the beginning of “an association of musicians based on the method of socialist realism.”
Song creativity is gaining enormous scope. The genre of mass song becomes a laboratory for new means of melodic expression, and the process of “song innovation” covers all types of music - opera, symphony, cantata-oratorio, chamber, instrumental. The themes of the songs are varied, as are their melodies. Among the works of the song genre, the fighting songs of A. Aleksandrov and the songs of I. Dunaevsky with their sonorous joy, youthful energy, and bright lyrics (such as “Song about the Motherland,” “Song about Kakhovka,” “March of the Cheerful Children”) especially stood out at this time. etc.), original songs by V. Zakharov, dedicated to the new life of the collective farm village (“Along the Village”, “And Who Knows Him”, “Seeing Off”), songs of the Pokrass brothers (“If Tomorrow is War”, “Cavalry”), M Blanter (“Katyusha”, etc.), S. Kats, K. Listov, B. Mokrousov, V. Solovyov-Sedogo.
The song genre developed in close collaboration between composers and poets M. Isakovsky, V. Lebedev-Kumach, V. Gusev, A. Surkov and others. The widespread popularity of Soviet songs was facilitated by the emergence of sound cinema.
Opera House in the 30s. enriched himself with works on contemporary themes. I. Dzerzhinsky’s operas “Quiet Don” and “Virgin Soil Upturned” were distinguished by their bright melodic beginning and realistic characterization of the characters. Closing chorus "From edge to edge" from " Quiet Don"became one of the most popular mass songs. T. Khrennikov’s opera “Into the Storm” is also filled with dramatic characteristics, original melody, and expressive folk choirs.
Elements of French music received an interesting interpretation in D. Kabalevsky’s opera “Cola Breugnon,” marked by great professional skill and subtlety of musical characteristics.
S. Prokofiev's opera “Semyon Kotko” was characterized by the rejection of mass songwriting and the predominance of recitative.
Various trends in the work of Soviet composers began in 1935-1939. the subject of discussions about the ways of development of opera art.
Composers who worked in the genre of operetta also turned to the modern theme - I. Dunaevsky, M. Blanter, B. Alexandrov.
In the ballet genre, realistic tendencies were represented by such significant works as “The Flame of Paris” and “The Fountain of Bakhchisarai” by B. Asafiev, “Laurencia” by A. Crane, and the musical and choreographic tragedy by S. Prokofiev “Romeo and Juliet”. The first national ballets appeared in Georgia, Belarus, and Ukraine.
In the 30s The creativity of the largest Soviet symphonists of the older generation is blossoming, and the talents of the young are becoming mature. N. Myaskovsky created 10 symphonies during this period (from the 12th to the 21st). S. Prokofiev writes the patriotic cantata “Alexander Nevsky”, the 2nd violin concerto, the symphonic fairy tale “Peter and the Wolf”, D. Shostakovich - the 5th symphony, grandiose in concept and depth of content, as well as the 6th symphony, piano quintet , quartet, music for the film “Oncoming”. Many significant works in the symphonic genre were devoted to historical, revolutionary and heroic themes: the 2nd symphony of D. Kabalevsky, the symphony-cantata of Y. Shaporin “On the Kulikovo Field”. A. Khachaturian made a valuable contribution to realistic music (1st symphony, piano and violin concertos, ballet “Gayane”). Other composers also wrote major symphonic works, including composers from the Soviet national republics.
The performing arts have risen to great heights. Outstanding vocalists A. Nezhdanova, A. Pirogov, N. Obukhova, M. Stepanova, I. Patorzhinsky were awarded the title of People's Artist of the USSR. Young Soviet musicians E. Gilels, D. Oistrakh, Y. Flier, Y. Zakna international competitions in Warsaw, Vienna/Brussels won first prizes. The names of G. Ulanova, M. Semenova, O. Lepeshinskaya, V. Chabukiani became the pride of the Soviet and world choreographic art. Large state performing groups were created - the State Symphony Orchestra, State Ensemble Dance, State Choir of the USSR.
ART OF THE 30'S
1. General characteristics
Union of Artists
On April 23, 1932, the Party Central Committee adopted the resolution “On the restructuring of literary and artistic organizations", which liquidated all the artistic groups that existed in the 20s and created a single organization -Union of Artists of the USSR.
Socialist realism method
On First All-Union Congress Soviet writers in 1934 A.M. Gorky gave the definition “method of socialist realism", implying the creative use of the classical heritage of world culture, the connection of art with modernity, the active participation of art in modern life, depicting it from the standpoint of "socialist humanism" Continuing the humanistic traditions of previous art, combining them with the new,socialist content, “socialist realism” was supposed to representa new type of artistic consciousness.
Official art
It was assumed thatmeans of expression can be the most diverseeven in the interpretation of the same topic. That's what they said, anyway. In fact, it was many decades in advance
officially approved from above,
« ideologically consistent"(what is most important)
tending towards naturalismonly possible direction in art, a kind of diamatism in science,
prohibiting all dissentartistic consciousness,
at the same time with a clearly debuggedmechanism of government orders, planned (for artists acceptable to the party)exhibitions and awards. (314)
Themes of art in all types and genres seemed to imply diversity: fromheroics of the revolution And Civil War before workdays , prompted and put forward by life itself. Portrait genre should have stayedone of the leading, because the realistic artalways and first of all -human research, his soul, his psychology.
This was quite thevague in words and very tough indeed program. How it was embodied - showednext decade. Of course, the same topic can be developed and presented in different ways, as
in pictures Petrova-Vodkin and Deineka,
landscapes Rylov and Nyssa,
portraits Konchalovsky and Korin,
in graphics Lebedev and Konashevich,
in the sculpture of Mukhina and Shadr,
as in the future, without departing frombasic realistic principlesvisions of nature, contemporary artists have worked and are working differently:V. Popkov, Y. Krestovsky, V. Ivanov, V. Tyulenev, G. Egoshin and others (315)
Ideologization of art
But the “method of socialist realism” unanimously adopted at the congress “engineers human souls "in 1934, completelydid not imply any freedom. Vice versa, artistic creativity getting tougher and tougherbecame ideologized.As one researcher, V. Piskunov, wrote (the author spoke about poets, but this fully applies to artists), “in one strokeauthoritative penentire generations were culledand periods", and justthe best of the masters"were not worthy to get intosocialist realist calendar" This should always be remembered when reading Russian history of the Soviet period.
Art exhibitions
Great efforts were made in the 1930s to formnational art schools , to the creation multinational Soviet art" Decades national artand republican exhibitions, participation of representatives of different republics in thematic art exhibitions:
"15 years of the Red Army",
"20 years of the Red Army",
"Industry of Socialism" (1937),
« Best works Soviet art" (1940),
V international exhibitions in Paris (1937) and New York (1939),
in the organization of the All-Union Agricultural Exhibition (1939 - 1940)
one of the forms of cultural communication between the peoples of the USSR in these years.
It was especially bigexhibition "Industry of Socialism"" It was attended by above 700 artists Moscow, Leningrad and other cities of the RSFSR and union republics; along with already mature masters at the exhibitionyouth debuted. The presented works were dedicated to “the best people in the country, shock workers of five-year plans, new buildings of the Soviet industry", which later became aboutmandatory componentany scaleofficial exhibition.
Academy of Arts
In 1932, they were recreated, closed in the early years of the revolution.All-Russian Academy of Arts and later - Institute of Painting, Sculpture and Architecture.
Violation of democratic principles
It should be remembered that the 30s were one of thethe most controversialand tragic periods both in the history of our state and in its culture and art.Violation of humanistic democratic principlesin the life of society was reflected in the creative atmosphere. The basis of the creative process was violated -freedom of expression for the artist.
Art the role of “explainer”
Behind an increasingly harsh statementunique style and way of life, with the exclusion from reality of any manifestation of freedom of choice, increasinglydecreed and united art form . Since art was givenrole of "explainer"» directives in a visual form, it naturally turned into artillustrated and straightforward(“understandable "), losing allcompleteness, complexity and versatility expressive means. (316)
Denial of the rights to freedom of spirit
Despite the demagogicpraise of a simple worker- “builder of a bright future”, was denied itself human right
to freedom of spirit,
to your vision of the world,
finally, in doubt - necessary incentive to improvepersonality, to creative creation.
For what could be more destructive for creativity than plantingdogmatically uniform forms of glorificationone unrighteously elevated above a multi-million peoplea figure or several figures, or one and false - ideas ? This led to the fact that the paths and destinies of artistsmore and more diverged.
Two paths for artists
Some seem to - or actually -have sunk into oblivion, others became " leading artists of the era» 30s, the fate of some was silence, obscurity and tragic oblivion, inevitable falsehood and deliberate lies accompanied the glory of others.
Official art
Countless works appeared like paintings by V. Efanov and G. Shegal about “leader, teacher and friend", "presiding" at congresses, countlessportraits of the “leader of the peoples”" Village life was depicted falsely optimistically in large festive paintings
S. Gerasimov. Collective farm holiday. 1937
A. Plastov. Holiday in the village. 1937
All these and similar paintings were issuedfor the true “truth of life”" They were full of that cheerfulness, which is even remotelywas not true, but Gorky is precisely “historical optimism" considered one of the definingproperties of “socialist realism”».
Falsification of history, humanistic ideas led to psychologicalwithdrawal creative personality . And, in turn, the artist, creating false image , fake but builtbased on the principles of visual credibility, forced make the masses believe in himthat were full sincere (and in the 30s especially pronounced) desireto everyone's happinessworking humanity. I think this is the greatestSoviet-era tragedy. (317)
Unofficial art
At the same time, in the art of the 30s one can name many names of artists who worked interestingly: Petrov-Vodkin, Konchalovsky, Saryan, Favorsky, Korin. The most important painting in Korin’s life “ Rus' is leaving" and “didn’t happen”", and the reason for this, it seems to us, isartistic atmosphere those years.
Worked in Leningrad since 1925school-workshop Filonov. Under his leadership, the design of the famous publication was completedFinnish epic "Kalevala"», scenery for "The Inspector General"" But in the 30s the workshop is emptying. The students leave the master. An exhibition of Filonov’s works prepared back in 1930 at the State Russian Museumnever opened. She was only destined to happen in 58 years.
2. Painting
BORIS VLADIMIROVICH IOGANSON (1893 - 1973)
Other artists become presenters. Among them, the main place belongs to B.V. Ioganson (1893 - 1973), who back in the 20s wrote such works as
The workers' faculty is coming (University students). 1928
Soviet court. 1928
Nodal railroad station in 1919. 1928
who presented the painting at the 1933 exhibition “15 Years of the Red Army”
Interrogation of communists. 1933
and at the 1937 exhibition “Industry of Socialism” - a large canvas
At the old Ural plant. 1937
In both works, Ioganson seems to strivefollow traditions, laid down by Russian artists, first of allRepin and Surikov. And indeed, the artist knows how to depict “conflict situations», clash characters. At general "splendor""endless" collective farm holidays" and countless images "leader, teacher and friend" This already the dignity of a master. It affects primarilycompositional solution.
Conflict situations
In "Interrogation of Communists" thiscollision of two different forces, prisoners and enemies, in “Ural Demidovsky” (the second title of the painting “At the Old Ural Factory”) -worker and factory owner, whose views, by the will of the artist, intersect just like the viewsRed-bearded Sagittarius and Peterin Surikov’s “The Morning of the Streltsy Execution.” Myself work process - Ioganson walked from descriptiveness, detail, verbosity And congestioncomposition to a more laconic and strict solution, where the entire dramatic conflict is built on a collisiontwo worlds hostile to each other, - traditional. Evenreplacing the location of the female figure- in search of a more typical situation from the foreground in the early version to the male one - in the final (“Interrogation of the Communists”) somewhat reminiscentRepin's search for a solution in “We Didn’t Expect.”
Large potentialcolor optionsmanifested in these paintings, especiallyin the first, where the contrasts of chiaroscuro, sharp flashes of deep blue, brown-red, white intensifythe mood of the tragedy of what is happening. But in the end - a complete loss.
Inappropriate satire
To the artist changes simple taste, because he refers to satire, cartoon, so inappropriate in a painting.
If the communists- even in the hands of the enemyapproaching him fearlessly;
if "White Guards"then there will certainly be hysterics (upturned shoulder, disgustingly red back of head, raised whip, etc.);
if the breeder then his gaze is hateful, but also unsure
if a worker then full of superiority, dignity, anger and inner strength.
Falsehood in Ioganson's works
And all this is deliberate,excessively, pedally- and because of this it loses its meaning andbecomes false. (Although in fact there were many such people and such situations.)
As historical-revolutionaryBrodsky's paintings,
How portraits of Ryazhsky,
these works by Iogansonexpressively illustratedevelopment of domestic artand it is in this sense (and not the traditional one) that they can truly be considered “classics of Soviet art».
ALEXANDER ALEXANDROVICH DEINEKA (1899 1969)
In the 1930s Deineka worked a lot.
Laconic details,
expressiveness of the silhouette,
discreet linearand color rhythm
basic the principles of his art. Former "Ostovtsy" remaingenerally true to their traditions. The topics are becoming more diverse: thisgenre, portrait, landscape. But no matter what they write, signs of the times appear in everything.
For the exhibition “20 Years of the Red Army” Deineka wrote one of the most poetic and romantic works
Future pilots. 1938
three naked boyish figures(depicted from the back), on the seashore, lookingon a seaplane in blue sky , its future conquerors. This romanticismexpressed in color- combination
dark blue water,
gray-blue sky,
sunlight flooding the embankment.
To the viewer the boys' faces are not visible, but the whole structure of the picture conveys the feelingthirst for life, spiritual openness. Many paintings by Deineka from these yearsdedicated to sports.
Watercolors by Deineka
The diverse world of Europe and the New World has opened in his watercolors , written by him after a trip abroad in 1935:
Tuileries. 1935
Street in Rome. 1935
and others, of course, from the “position” of a Soviet man who has “his own pride.”
Officially recognized artists created an illusory image of a jubilantfestive life of the 30s, so untrue. Thus, the feeling of a new life under construction is conveyed by Yu. Pimenov in the film
Yu. Pimenov. New Moscow. 1937
Impressionist tendenciesare vividly felt in immediacy
impression, skillfully conveyed as iffrom the perspective of a woman driving, in the wealth of light and air, in dynamic composition. In bright festive colorsalso emphasizedimage of the new Moscow.
During these years, such people continue to workwonderful artists, as N. Krymov (1884-1958), A. Kuprin , each of whom created with his own individual meansepically majestic image of the Motherland
A. Kuprin. River. 1929
A. Kuprin. Summer day in Tarusa. 1939/40
A. Kuprin. Thiam Valley. 1937
Many Crimean and Central Russian landscapes are picturesquely generous and romantic. A. Lentulova , full of life and his still lifes
A. Lentulov. Still life with cabbage. 1940
you're amazed the cheerfulness of many worksartists in these terrible years. (320)
With the entire pictorial and plastic structure of the canvas I tried to expressspirit of modernity, intense rhythms new life G. Nissky , depicting battleships standing in the roadstead, sailing ships flying in the sea, railway lines stretching into the distance
G. Nissky. On the tracks. 1933
We can say that in comparison with the 20s, the geographical areas are expanding in the 30s.framework of landscape as a genre. Artists are traveling to the Urals, to Siberia, on Far North, Crimea. Homeland is a huge territory multinational state- givesrich impressions for painters, in the landscapes of which one idea prevails:nature of our country, presented by the masters in all its generosity and whimsical variability of lighting at different times of the day and year, is not just a symbol of the beauty of the native land, but also symbol of time , it is one way or another renewed by the labor of millions of people. Artists of national republics lovingly capture the signs of the new in their country.
MARTIROS SERGEEVICH SARYAN
M. Saryan paints beautiful landscapes and portraits
Portrait of the architect A. Tamanyan
Portrait of the poet A. Isahakyan
and still lifes. Green valleys, dazzling snowy mountains of Armenia, its ancient temples and new construction projects invading its harsh landscapes
Alaverdi copper smelter. 1935
Vintage. 1937
Flowers and fruits. 1939
magnificent, illuminated by the bright talent of a born painter, his amazing decorative generosity.
Landscapes testify to the new look of ArmeniaG. Gyurtszhyan, F. Terlemezyan, the image of the new Georgia is given in canvasesA. Tsimakuridze, V. Japaridze, E. Akhvlediani.
PETER PETROVICH KONCHALOVSKY
Portraits developed intensively in the 1930s. P.P. Konchalovsky painted a whole series of beautiful portraits of cultural figures:
V. Sofronitsky at the piano. 1932
Portrait of S. Prokofiev. 1934
Portrait of V. Meyerhold. 1938
In the latter, as always with Konchalovsky,open, ringing color, but it is given in contrast withMeyerhold's intense gazeand his pose, which brings something to the image disturbing . This is not surprising: before his arrest and deathfew days left. (321)
MIKHAIL VASILIEVICH NESTEROV
After almost 15 years of silenceM. Nesterov spoke with a number of portraits of the Soviet intelligentsia
Portrait of artists P.D. and A.D. Korinykh. 1930
Portrait of I.P. Pavlova. 1935
Portrait of the surgeon Yudin. 1935
Portrait of V.I. Mukhina. 1940
No matter who Nesterov portrays,
be it Pavlov with his youthful enthusiasm, strong-willed, collected, spiritual, laconic andexpressive hand gesturewhich only more sharply emphasizes his irrepressible, dynamic, “explosive” nature;
sculptor Shadr standing in concentrated thoughtat a giant marble torso;
surgeon Lee Yudin
or artist Kruglikova, -
he first of all emphasizes that these people are creators , and the meaning of their life iscreative questsin art or science. In Nesterov's portraits there isclassical measure, simplicity and clarity, they are performed in the best traditionsRussian painting, first of all V.A. Serova.
PAVEL DMITRIEVICH KORIN (1892-1971)
Nesterov’s path in the portrait is followed by his student P. D. Korin (1892-1971), he also emphasizesintelligence, the inner complexity of a person, but his writing style is different,
the shape is tougher, clearer,
the silhouette is sharper,
the drawing is more expressive,
the coloring is harsher.
K. Magalashvili
Even in the 1920s, interest in the creative intelligentsia was also shown byGeorgian artist K. Magalashvili
Portrait of the sculptor Y. Nikoladze, 1922,
Portrait of the painter Elena Akhvlediani, 1924,
Portrait of a pianist and. Orbeliani, 1925
In 1941 she writes
Portrait of pianist V. Kuftina. 1941
S. Salam-zade
Azerbaijani artist S. Salam-zadeh chooses the image of a working man as his theme
S. Salm-zade. Portrait of cotton grower Mayush Kerimova. 1938
3. Monumental painting
Monumental art
The 30s were a definite stage in developmentall types of monumental art. (322)
Opening All-Union Agricultural Exhibition,
channel named after Moscow,
construction metro in the capital,
clubs, palaces of culture, theaters, sanatoriums etc.,
participation of Soviet artists ininternational exhibitionsbrought to life many works
monumental sculpture,
monumental painting,
arts and crafts.
Artists of Moscow, Leningrad, other cities of the RSFSR and national republics, who preserved and creatively reworked the traditions and forms of national art, were considered the mainproblems of art synthesis.
Monumental painting
In monumental painting leading place belongsA.A. Deineke, E.E Lansere.The latter developed as an artist even before the revolution. In the 30s he performed
paintings in Kharkov, Tbilisi.
Painting of the restaurant hall of the Kazansky railway station in Moscow
Devoted to friendship and unity of peoples, talks about natural resources of the country.
Painting of the restaurant hall of the Moscow Hotel
based on traditionItalian illusory ceiling painting, above all Venetian Tiepolo.
Monumental painting during these same years they also workedV. Favorsky, A. Goncharov, L. Bruni. In the painting
Favorsky. Painting of the House of Models in Moscow. 1935 (graffito, not preserved)
Favorsky achievedsynthesis of architecture and painting, this work had a huge influence on his students.
4. Sculpture
4.1 Monuments
We worked a lot in sculptureand old masters, who declared themselves in the first years of Soviet power, and young . It should be noted that in the 30s, in all types and genres of sculpture - inportrait, statuary composition, relief- it became noticeable attraction to idealization of nature. This was especially reflected in monumental sculpture, presented in competitions for numerous monuments. (323)
MATVEY GENRIKHOVICH MANIZER (1891 1966)
It is significant that incompetition for a monument to Chapaev(for the city of Samara) and Shevchenko (for Kharkov) the winner was M. Manizer, the successoracademic schoolRussian sculpture with its attraction tonarration and idealization.
Monument to V.I. Chapaev. Samara. 1932
Monument to T.G. Shevchenko. Kharkiv. 1935
In the monument to Shevchenko, Manizer presented the poet primarily as a fighter,denouncer of autocracy.
This idea is strengthened by the fact that his figure is contrastedsad image of a farmhand, conditionally named later by the name of the heroine of his poem “Katerina”
Katerina.
(one of 16 figures representing “stages of the struggle of the Ukrainian peoplefor his release"). The monument is designedfor a 360-degree inspectionand placed at the entrance to the park (the author of the pedestal is architect I. Langbard).
In 1936-1939, Manizer performed (together with his students) a number of statues for the Moskovsky stationmetro station "Revolution Square"" This work can hardly be called successful, which was aggravated by the fact thatlimited space, low arches interfered with organic synthesisarchitecture and sculpture.
Lyrical sculpture
In sculpture of a lyrical plan, skillfully modeled, deeply poetic, he continues to work A. T. Matveev . Y. Nikoladze creates wonderful portrait works
Ya. Nikoladze. Portrait of G. Tabidze. 1939
Ya. Nikoladze. Bust of I. Chavchavadze. 1938
Subtle psychological or poignant images- in portrait sculpture S. Lebedeva
S. Lebedeva. Portrait of V. Chkalov. 1937 (Study, bronze)
On your own creative path are entering these yearsyoung sculptors. Problems are also paramount for themsynthesis of sculpture and architecture.
VERA IGNATIEVNA MUKHINA (1889 1853)
Great importance for the development of Soviet monumental sculpture, the USSR participated ininternational exhibition"Art, technology and modern life", held in Paris.Soviet pavilion was built according to project B.M. Iofana. Sculpture group for him made by V.I. Mukhina.
Back in 1922 - 1923, according to the plan of monumental propaganda, she performed a full, passionate,violent movement of the figure, personifying " flame of revolution." (324)
Peasant woman. 1927
In 1927 she createdeasel sculpture of a peasant woman,
weighted and tightly knit volumes,
laconic, expressive plasticity
which indicates a constant interest inmonumental generalized image.
In the portraits of the 30s she found quite modern language realistic sculpture based on classical examples.
Doctor A. A. Zamkov. 1935
Architect S.A. Castles. 1935
But most of all the masters are interestedprinciples of synthesis of architecture and sculpture.
Worker and collective farmer. 1937
One of the original solutions was given by Mukhina in her work for the International Exhibition. Iofan building ended with a giant, raised33 m high pylonwhich is completely organiccrowned by a sculptural group.
They hold at lengthHammer and sickle in hands. It was difficult to find morecomplete, comprehensive solutionthis topic than Mukhina found. From the sculptural group comesmighty movement, which creates rapidrush of figures forward and upward. Expressively interpretedfolds of clothes and scarf. Ease, silver shine stainless steel, in which the sculpture is made, further enhancedynamic impression. The innovative sculptor Mukhina managed to embody in this workthe ideal of an entire era.
Working with Iofan
Collaboration between Mukhina andarchitect Iofanled to artistic unity simple,structurally integral architecture and plastically rich, laconic, complete sculptural forms. Moreover, the role of sculpture here is predominant. Building,lined with marblewith stainless steel rods, in fact, just a pedestal for it, sculpture naturally completedvertical architectural rhythms, gave the building architectural completeness.This is one of the mostexpressive monuments, executed in accordance with the once conceived "monumental propaganda plan" Delivered now on a low pedestal, He lost all its monumentality. (325)
Decorative sculpture
These years the sculptor works a lotdecorative sculpture, and also completes Shadr’s work on what he started in the 30s
Shadr. Monument to A.M. Gorky. 1951
installed in Moscow in front of the Belorussky railway station.
4.2 Animal sculpture
VASILY ALEXEEVICH VATAGIN (1883 1969)
In the 30s, animalistic sculpture developed interestingly, where the names of two masters undoubtedly stand out - V. Vatagina , who knows very well not only the characteristics, but also the psychology of animals, who works a lot
in the tree
Himalayan bear. 1925
and bronze
Tiger. 1925
IVAN SEMENOVICH EFIMOV (1878 1959)
and I. Efimov, who performed his works ina variety of materials more generalized, decorativethan Vatagin, and the endowing beastfeatures of anthropomorphism
Cat with a ball. 1935 (porcelain)
Rooster. 1932 (wrought copper).
The most precious part of the creativity of both - their drawings.
5. Graphics
Vladimir Andreevich Favorsky (1886 1964)
In the schedule of these years, the leading place continues to be occupied bybook illustrators. V.A. Favorsky , who himself works very intensively - woodcuts
Illustrations for “The Tale of Igor's regiment»,
Illustrations for Dante's "Vita Nova"
Illustrations for Shakespeare's Hamlet
heads a whole school of graphics. (326)
A. Goncharov with highly professional, deeply insightfulillustrations for Smollett and Shakespeareserves special attention among his students. In general, however, wood engraving is being relegated tobackground lithography, as well as a drawing -charcoal and black watercolor.
Leningrad school
In the 30s in the art of woodcuts new leg contributesLeningrad school, in which there is more grace, coming from"world of arts" traditions. These are the works of L. Khizhinsky , who began his creative career in Ukraine,G. Epifanova, N. Fanderfleeta, S. Mochalov, early deceased N. Alekseev . Masters of easel graphics, singers of elegiac watercolor landscape wereV. Pakulin and N. Tyrsa, the rhythms of the new, industrial Leningrad capturewatercolors by N. Lapshin.
Georgy Semenovich Vereisky (1886 1962)
Since the mid-30s, he has worked almost exclusively in the techniques of etching and lithography. G. Vereisky (he portrayed it more than 50 timesactor V.P. Ershova, achieving depthpsychological characteristics).
Konstantin Ivanovich Rudakov (1891 1949)
In the most different techniques and genresworked as a brilliant draftsman K. Rudakov (illustrations to Zola and Maupassant, easel graphic images of life in Western Europe,portraits of contemporaries)
Portrait of the artist I.K. Kolesova. 1936 (aq.)
Dementy Alekseevich Shmarinov (1907 1995)
A galaxy of young graphic artists perform illustrations for Russian and Soviet classics. D. Shmarinov , student of D. Kardovsky, makes full of harsh,tragic feeling
Illustrations for “Crime and Punishment” by Dostoevsky. 1935 - 1936
graceful and simple drawings
Drawings for Belkin's Stories. 1937
Series of drawings for "Peter" I » A. Tolstoy. 1940
Illustrations for “Hero of Our Time” by M.Yu. Lermontov. 1939 - 1940
Drawings for "Peter" I ", in fact, entire historical compositions with bright characters, with excellent transmission in the sketchy manner of thespirit of Peter the Great's era. Shmarinov bypassed many everyday details to give the series a high epic style. (327)
Evgeny Adolfovich Kibrik (1906 - 1978)
E.A. Kibrik (1906 - 1978) performs full of captivating simplicity and a subtle sense of the Gallic spirit
Illustrations for Cola Breugnon. 1936
Illustrations for “The Legend of Ulenspiegel” by Charles de Coster. 1938
Kibrik later wrote: “All my life I have strived to embody one image. This is the imagekind, brave, cheerful person. He loves life and people. He fights evil. To him I want to imitate. This image appeared in my worknow in the person of a Burgundian, now a Flemish, now a Ukrainian, now a Russian"(4, p. 15). (328)
Sergei Vasilievich Gerasimov (1885 1964)
S.V. Gerasimov in black watercolorscreates temperamental and strong characters
Illustrations for the story “The Artamonov Case” by A.M. Gorky. 1938 1939
Kukryniksy
Kukryniksy (union of three artists -M.V. Kupriyanova, P.N. Krylova, N.A. Sokolova), back in the 20s, who declared themselves assatirical artists, illustrate mainly satirical works
Illustrations for “The Golovlevs” by M.E. Saltykova-Shchedrin
or individual (satirical) episodes in literary works
Illustrations for “Klim Samgin” by M. Gorky
Detgiz
Leningrad artistsK.I. Rudakov, N.A. Tyrsa are working onWestern and Russian classics, V.V. Lebedev and E.I. Charushin -over children's literature, each maintaining their own creative personality. A whole group of wonderful people was organized around Detgiz, headed by V. Lebedev.Leningrad graphic artistshigh culture: Yu. Vasnetsov, V. Kurdov, V. Konashevich and many others.
"Pushkiniana"
The 100th anniversary of Pushkin’s death in 1937 brought to life a whole “ Pushkinian"
drawings and watercolors N. Ulyanova , dedicated to Pushkin's places,
series by L. Khizhinsky,
lithographs P. Shillingovsky
“What great happiness,that Russia has Pushkin. All our lives he shines above us,like the never setting sun! - later wrote an outstanding graphic artist, a master of sharp drawing N. Kuzmin , who illustrated “Eugene Onegin” in the “Pushkin manner” (5, p. 50).
National literature
Interest in national classical literature ubiquitous. Gained widespread fameillustrations by S. Kobuladze
S. Kobuladze. Illustrations for Shota Rustaveli’s poem “The Knight in the Tiger’s Skin.” 1935 1937
Sublime elation of heroic characters achieved
coinage plastic form,
precision of composition,
almost sculptural tactilityin conveying the surroundings,
selection of the main in him.
A cycle of gouaches dedicated to David of Sassoun, performed by E. Kochar (1939).
6. Architecture
Competition for the Building of the Palace of Soviets in Moscow
Many (Vesnin brothers, M. Gelfreich, B. Iofan, M. Ginzburg, even Sch.-E. Corbusier) famous architects participated incompetition for the Palace BuildingSoviets in Moscow. Wonmulti-level building project surrounded by columns, with statue of V.I. Lenin upstairs. So cubist mausoleumcould be in close proximity toa gigantic structure, claiming some groundBie classicist architecture. But the project was not destined to come true.
Pavilions at VSKh
The rivalry between constructivism and a certaina semblance of classicismobserved in the architecture of the 30s with a clear predominance of the latter by the end of the decade. In 1937 - 1939, at the All-Union Agricultural Exhibition,representing the republicshuge pavilions inpseudo-national spirit.
Moscow subway
Since the mid-30s they have been buildingfirst stations of the Moscow metro
With luxurious interior decoration(mosaic, sculpture, grisaille, fresco, stained glass, different types of marble, bronze lamps and grilles, etc.)
and overloaded Soviethammer and sickle symbols
And five-pointed star decor.
Stalin Empire style
Pompousness, excessive ostentation, sometimes even at the expense of convenienceand common sense
huge colonnades,
towers with spiers, richly decoratedridiculous sculpture, in which forms that claim to be classic are executed as if by the hand of a barbarian,
giant gate arches, disproportionate to man, which in itself already violates the laws of architectonics coming from classical art
firmly entrenchedat a later timeand were subjectedcriticism only by the end of the 50s. But people still retain the apt ironic name"Stalinist Empire"