1926-1930, Moscow

full members and exhibitors: I. O. ahremchik, R. N. Barto, V. N. Baskakov, A. G. Bashkirov, Z. V. Belikovich, . I. Witing, A. S. Golovanov, B. A. Of The Devision For, I. D. Goncharov, D. S. Igumnov, Kapterev, R. E. Klasson, O. I. Kogan, A. A. Chepchugov, L. A. Kuznetsov, V. I. Kutuzov, K. F. Morozov, K. M. Mukhin, S. G. Nekrasov, . I. Nikolaev, M. V. Novikov, M. Pavlova, V. V. Pochitalov, Y. G. Ryazhskaya, Z. M. Sirvent, S. Strelkov, K. N. Suraev, T. G. Tavadze, A. A. Fomin, . F. Frolov, M. A. Zelikovsky, A. V. Shevchenko, R. L. Steinbrecht.

Exhibitions: 1-я (1926, Moscow) — 3-я (1930, Moscow)

the Society was founded on the initiative A. V. Shevchenko and his students at the Moscow VKhUTEMAS. Its creation was preceded by the exhibition "Tsvetodinamos and tectonic primitivism" (12-я State fair) and 1-я exhibition of easel artists, which exhibited the students VKhUTEMAS (1923). These exhibitions in the future was regarded as the first exhibition of the Guild, and show directly Association received numbering from 3-й 5-ю. In the company's management Board consisted of: A. V. Shevchenko (Chairman), A. S. Golovanov, B. A. of the Devision for, Kapterev, M. A. Zelikovsky. The Charter was approved in 1928-м. Artists proclaimed the priority of easel painting and the freedom of painterly quests.

1-я (3-я) exhibition opened on 19 December 1926 at the Central House of education in Leontief lane; was attended by 16 artists, exhibited 135 works. 2-я (4-я) the exhibition was opened on February 26, 1928 in the House of scientists in the street Kropotkina; was attended by 19 artists, exhibited works 243. After the exhibition of the society left its founders — R. N. Barto, A. G. Bashkirov, Kapterev, Z. M. Sirvent. 3-я (5-я) the exhibition opened on 30 March 1930 in the auditorium of Moscow state University on moss street; was attended by 21 artists, it has been shown 215 works. All exhibitions were accompanied by the publication of catalogues. Works they acquired in Museum collections (the State Tretyakov gallery, State Museum of fine arts).

in addition, the members of a private group participated in three traveling exhibitions organized by the people's Commissariat for Glaviskusstvo show in Moscow (1-я, 1929), cities of the RSFSR (2-я, 1930, Nizhny Novgorod, Kazan, Sverdlovsk, Perm, Ufa, Samara, Saratov, Penza), the cities of the RSFSR and Union Republics (3-я, 1931, Sverdlovsk, Magnitogorsk, Omsk, Novosibirsk, the Kuzbass, Semipalatinsk, Almaty-Ата, Tashkent, Samarkand, Rostov-на-Дону, Krasnodar, Grozny, Novorossiysk, state farm "Giant", Minsk, Smolensk).

Despite the desire of some artists to display revolutionary and Soviet themes (for example, 4-й the exhibition "Workshop" was shown paintings of "Masons" and "Uprising" B. A. golopolosova, 5-й — "Portrait of V. I. Lenin", "day of Mourning", "Fighting revolutionaries", "Drillers (dneprostroy)" B. A. golopolosova, the etchings "the Pioneers", "Movers" . I. Witing and others), society is constantly criticized for being apolitical, the fascination of the artistic movements of the past and detachment from modernity. Critic V. M. Lobanov wrote after the second exhibition of the Association: "Both exhibitionstalked about the fact that in the presence of the great creative diversity of all participants @ldquo;Цеха@rdquo; internally brings, in addition to their personal endowments, the pursuit of pictorial expression in @ldquo;цехисты@rdquo;, without much hesitation, bringing social saturation and the thematic focus of their works. They are not particularly concerned about their links with modernity, they are more fascinated by the development of color and texture, and painting for them, only @ldquo;повод@rdquo; to show the audience something or other technical skill, to reveal their discoveries in the field of colors, tones, harmonies. For them, the realism, the content was important and necessary insofar as it did not prevent them to expand their love of decoration, by the beautiful lyricism that fascinates them have a Corot. Artists @ldquo;Цеха@rdquo; brings not loyalty to a particular picturesque canons, and emotional attunement derived, part, maybe, their teachers, and the part in the atmosphere of fascination with the achievements of past painting and culture, which characterizes the tastes and moods of our University art young".

In 1930, the society collapsed. In 1931 a group of members "Shop" (Z. V. Belikovich, . I. Witing, V. I. Kutuzov, K. F. Morozov, K. M. Mukhin, Y. G. Ryazhskaya, R. L. Steinbrecht) participated in the creation of an Association of art workers (ORI).

Sources:

1. Lobanov V. M. Art groups over the past 25 years. M., 1930. P. 144-145.

2. D. Y. Severyukhin, Leikind O. L. The Golden age of art associations in Russia and the Soviet Union. Reference. SPb., 1992. S. 332-333.