1927-1932, Moscow

Members-учредители: S. V. Gerasimov, Grabar, A. D. Drevin, I. F. Zavialov, K. K. Zefirov, p. P. Konchalovsky, B. D. Korolev, A. V. Lentulov, . H. Maksimov, . N. Maslennikov, I. I. Mashkov, A. A. Osmerkin, S. Petrov, , M. S. Rodionov, V. V. Rozhdestvensky, . A. Udaltsova, R. R. Falk, V. F. Franchetti, V. L. Krakowski, I. I. Chekmazov.

active members and staff (exhibitors): M. N. Avetov, I. K. Altukhov, B. I. Borisov, S. N. Buhari, V. I. Grigoriev, . N. Grigoriev, . M. Grigoriev, D. M. Devenow-Нюренберг, M. A. Dobrov, , Ivanov, E. N. Ivanov, S. I. Ivanov, Z. G. Ivanova, V. V. Izhevsk, L. G. Cantor, Kapterev, M. D. Korneev, S. M. Kirov, V. I. Kiselev, T. M. Konchalovsky, A. I. Kravchenko, . P. Krymov, A. V. Kuprin, A. A. Lebedev-Шуйский, K. A. Levashov, S. I. Lobanov, I. A. Malyutin, E. O. Mashkevich, A. A. Morgunov, D. V. Murashev, S. G. Mukhin, V. M. Novozhilov, A. V. Pavlov, A. N. Werner, I. P. Perfil'ev, A. G. Polezhaev, V. V. Pochitalov, S. M. R., G. O. Rublev, A. A. Rybakov, V. F. Ryndin, V. N. Cages, A. F. Safronova, A. F. Sakharov, . K. Falcon, M. I. Stolpnikova, S. M. Taratukhin, G. V. Fedorov, A. M. Feigin, M. I. Feoktistova, A. V. Fonvizin, . M. Chernyshev, A. N. Teals, B. S. Chable-Табулевич, A. V. Shevchenko, G. M. Segal, M. F. Shemyakin, V. M. Kerichev, . I. Shestakov, V. N. Shifrin, F. K. Shmelev, B. R. Eyges, V. R. Eyges, V. A. Alpert, A. S. Yastrzhembsky.

Exhibitions: 1928 (Moscow), 1929 (Moscow).

Occurred at gakhn (the State Academy of artistic Sciences), and the merger of former members of the society "Moscow painters", "Makovets" and "Genesis". The main objective was to create a synthetic art that could grow on the basis of ideological unity-художественных beliefs. 23 Jun 1928 Charter was adopted, according to which the society intended to "promote the raising and development of artistic culture, RSFSR, and also bringing it to the masses ...an artistic display of the life and ideas of Soviet modernity in a beautiful plastic forms of the new realism, which excludes both graphical and stylistic biases, and overcoming formal searches of recent decades".

In the Declaration, the Society said: "We, the artists, Omha, decisively reject the old understanding of painting and sculpture as a "chamber" of art as craftsmanship, designed for a narrow circle of connoisseurs and aesthetes. Similarly we consider finally buried hasty judgment of some thinkers and groups about the “death of painting” and its irrelevance to our era Painting... — is not contemplation, not static “repetition” way of life, not passively-натуралистическое representation of reality and not only a means of cognition of reality, and a powerful weapon creative impact on the world, a tool of active reconstruction of life... the hen gives up his powers in the service of those military objectives of the era, striving painting, sculpture, poster, mural, folk painting, illustration to do the same thing, what's going on in the construction of new plants, on the collective farms, onmachine-тракторных stations, all the shops of the gigantic factory, which is called a country building socialism. We regard ourselves as one of the workshops of the factory..."

the First Chairman was Grabar, in 1929 the Chairman of the Board was A. V. Lentulov and Vice-Chairman of — S. V. Gerasimov, Secretary — A. A. Osmerkin, Treasurer — . M. Chernyshev.

the company had two reporting exhibition: in February 1928 in the halls of higher art and technical Institute (Myasnitskaya, 21) and June 1929 in the pavilion "Hexagon" ("Mechanization") Tspkio. Exhibitions dominated the landscape and still life@the semicolon however, the artists attempted to create a historical and thematic paintings. The exhibition was extremely successful, in particular 2-ю exhibition in Gorky Park was attended by 20 000 "paid visitors" and over 200 tour groups; 32 works from the exhibition are scheduled for purchase in the State Tretyakov gallery.

In 1927-1930 OMX also organized more than 50 traveling exhibitions in Moscow working clubs and industrial centers of the region: in the club Trekhgornij manufactory in Moscow, Calistro, Golutvin, a factory "Oka" in Buccino, at the cement plant in the Sand, in Moscow, Lyubertsy, village Bykovo, Mechnikovo. Simultaneously with the exhibitions, held public lectures.

Individual group member companies participated in mobile exhibitions organized Narkomprosa cities of the RSFSR (1929 and 1930) and "Art-кустарной exhibition of the USSR" the cities of the U.S. (1929, new-Йорк, Philadelphia, Boston, Detroit).

the Original leading role in the Union played by former members of the "Jack of diamonds". However, the composition of Society was heterogeneous and constantly changing. In 1928-1929 the MKO joined many former members of the society "Shop painters", "Genesis", "4 art", "GROWTH", "Fever-цвет". In early 1928 the Society joined youth group "Wing", which initially was an Autonomous section — OMS-2 (its sovereignty was specifically stated in the "Project relationship groups Omha", adopted by the General Assembly). In 1929, the conflict between the young and older generation the division of Society into groups was abolished, and the "Wing" joined the MKO on the same basis. However, by early 1931 the company has released I. I. Mashkov, Grabar, S. V. Gerasimov and a number of other members.

In March 1928, when OMX was created by artistic-производственные workshops — of Mastah, whose task was the implementation of social order and the relief the material conditions of members of Society. The program included posters, prints on political and industrial topics, painting public buildings, making clubs and mass rallies, publishing postcards, reproductions, albums.

the Activity of Mastah at first were unprofitable, with the result that by December 1928 the deficit to 18-20 thousand rubles. In early 1929 at the head of Mastah got B. D. Korolev, who sought to organize the workshops. It was created 8 sections: picturesquely-декоративная, poster-графическая, metallo-керамическая, sculpture, architecture-планировочная, art-заочного training, exhibition, fine (but really existed and worked just beautifully-декоративная, poster-графическая,sculpture, metal and exhibition sections). Approved production plan. The metal section was entrusted with the production of badges "medsantrud", "Sekojosas";, a competition was announced for the manufacture of the ink set. The work of the painting section were directed to the fulfillment of contracts with several companies (for example, plant Goujon) on clearance red corners and clubs. Also it was a question about the design of the Palace of Culture in Sormovo. The sculptural section has executed a contract with Pereslavl-Залесским the city Council on the manufacture of the monument to Lenin. It was assumed the release of statues depicting figures of the revolution, busts of the leaders of the revolution for mass distribution, as well as "figurines-частушек" public-политические topics. The graphics section was assigned to making posters on various topics (Textile workers, Police, Elections). By the end of 1929 the plan was almost fully implemented, with the result that it failed to repay most of the debt. By the early 1930s the structure of Mastah changed: formed by 3 sections —'sko-плакатная (head. A. A. Morgunov), a club (i.e. the section dealing with registration of clubs@the semicolon head. V. N. Cages), sculpture (head. B. D. Korolev).

Ideological platform of the MKO in many points in common with the programs of the AHR and the Association "October"; the work of the Society throughout the existence has been criticized by theorists of these associations (in particular, in the journal AXP "art to the masses"). In response, members of the MKO have published an article: "FROM-критика in the role of the gravedigger" ("Art into the masses", 1929, № 7-8, p. 36), and caused competitors in socialist competition, putting forward its conditions: "1. Energetic work on the creation of works by its subject and nature, stimulating the working masses to implement the five-year plan. 2. The approach of art to the masses through the district and travelling exhibitions. 3. Participating artists... in the work of club izokruzhke. 4. The establishment of systematic links with the Soviet public through the organization of art councils... 5. Participation in the creation... of the works designed for the mass consumer."

In December 1930, the hen was subjected to harsh criticism from the sector of arts education. The resolution sector of the art on the reports of the Moscow society of MKO were instructed to strengthen politico-воспитательную work among its members, to conduct a "class differentiation" and a series of cleaning; encouraged to recruit artists-производственников, printers, decorators. Mastah of the proposed transfer to the cooperative "the Artist" and Ishizu. In 1931, the governing body of the hen is the Secretariat, which was divided into three sectors — public-идеологический (head. S. V. Gerasimov), production (head. A. V. Lentulov), organizational (head. D. M. Devenow-Нюренберг). The Secretary-General on 16 February 1931 elected A. V. Lentulov, Treasurer — Z. G. Ivanova, Secretary of the Presidium of — V. R. eyges.

Under the influence of this resolution, a large group of MKO members addressed the Plenum of the Central Council of the AHR with the statement about joining AXP. Finally, the Society ceased its activities after April 23, 1932, in accordance with the decree of the Central Committee of the CPSU (b) "On the restructuringliterary-художественных organizations."

Sources:

1. The struggle for realism in visual arts 20-х years: materials, documents, memories. M., 1962. P. 224-225.
2. Exhibition of Soviet art. Reference. Vol. 1. 1917-1932. M., 1965. C. 251-252, 297-298.
3. The Bureau OMX. FROM-критика in the role of the gravedigger // Art to the masses, 1929, №№7-8. P. 36.
4. M. V. Meledina the Society of Moscow artists (MKO) // Soviet art history. Vol. 24. M., 1988. P. 362-384.
5. D. Y. Severyukhin, Leikind O. L. the Golden age of art associations in Russia and the Soviet Union. Reference. SPb., 1992. P.173-175.
6. Amuses N. Exhibit MKO // Art to the masses. 1929, No. 3-4. S. 43-46.