1917-1932, Petrograd — Leningrad

Participants-художники (teachers): L. F. Zhegin, S. T. Konenkov, P. V. Kuznetsov, K. S. Malevich, V. E. Pestel, B. F. Rybchenkov, . V. Nikolay sinezubov was, M. K. Sokolov, P. S. Utkin, V. D. Falileev, A. V. Fonvizin, M. M. Shcheglov, V. M. Usticke and others.

Participants-художники (students of the art studios): M. M. Axelrod, T. B. Aleksandrova, P. M. Kondrat'ev, P. N. Krylov, M. V. Matorin, M. I. Nedbaylo, G. G. Ryazhskaya, I. A. Sokolov, . A. Sokolov, C. K. Stefano, V. A. tambi and others.

Exhibitions: 1918 (Petrograd), 1921 (Petrograd).

the Association of proletarian cultural-просветительских organizations. Emerged after the February revolution of 1917; 10-19 October of the same year, on the initiative of A. V. Lunacharsky held the first conference devoted to proletarian culture. It selected working bodies of the Central Committee and outlined the main areas of work. Created departments: theater, literary club, lecture, fine arts, music, school and extracurricular education.

the task of Propaganda put "the production of an independent spiritual culture", sought "to give an employee a holistic education, the indispensable guide collective will and thinking". In 1919, the organization had about 100 branches in the cities of Russia in October 1920 numbered in divisions, sections, studios about 400 thousand workers.

over the years, He published more than 20 journals ("Future", "horn", "proletarian culture", "Hooters", "Glow of factories"). Published art program declarations and manifestos, policy and theoretical papers, collections of the proletarian poetry of the prose, were exhibitions working-художников.

the First of these exhibitions was opened on 25 August 1918 at the Palace of Proletarian culture in Petrograd; it exhibited over 400 works. One of the subsequent exhibitions in 1921 (not mentioned in the reference book "Exhibitions of Soviet art". M., 1965, vol 1) by E. F. Gollerbach critic wrote: "the Silhouettes of factory buildings, banging machines, black earth of the fields, furrow plow hard, hundreds of workers individuals, muscular, prehensile hands, do not know tired, — and all of it, swaying banners, the violent run of the vernal wind, menacing and jubilant songs of freedom. In this world was born “proletarian art.” In this world, it lives and develops. Still unsteady his steps. Aspirations are clear, but not clear yet techniques, no established art forms.... Much still in the works of young artists of the proletarian child-беспомощно and childish-несовершенно, but let's not forget that they have in front of — wide, spacious future. The artists participating in the exhibition of the soul, modestly called himself the faceless numbers... Separate room is given to the portrait sketches: here is striking poster the nature of the work, sometimes the attraction to the mural, the desire to put a face on the plane, the influence of cubism, Nathan Altman... Petrov-Водкина... the Most valuable of all, sometimes so naive and inept works of polyculture, it embodied a protest against the stagnation and routine..." (years Old, 1921, №№ 6-7).

In the art studios, created in different towns of Russia (Petrograd, Moscow, Samara, Saratov, Tambov,Rybinsk, Smolensk) he taught L. F. Zhegin, S. T. Konenkov, P. V. Kuznetsov, M. K. Sokolov, V. D. Falileev, . V. Nikolay Sinezubov Was. In addition to training students in various fields of fine art, the Studio was looking for new forms of active mass art participated in the festive decoration of the cities, agitation trains, clubs, Amateur performances. In Petrograd acted in a poster workshop.

October 1920 held the "First all-Russian Congress of the proletcult"; Lunacharsky supported the special situation of enterprises, its autonomy in the development of new forms of proletarian culture and to identify creative talents from the depths of the proletariat.

Despite the popularity and the fact that proletkultists movement manifested itself in all forms of art, to create a United front of revolutionary art failed (only members of the LEF actively participated in the activities of the Moscow organization). In 1922 a sharp criticism of Proletkult was made by Lenin, after which the activities of this Association began to fade, replaced by self-organisations of proletarian writers, musicians, artists and theater critics. Under the influence of Inhaca and Lef in the art studios there has been a shift to the production of art, which resulted in the closing of the workshops of easel painting. In 1932 the Union finally ceased to exist.