Today in the Saratov State Art Museum ANRadishev presents "Two faces of time. Domestic Art 1930-50-ies "

Today, 23 December, at 16.00 in the Saratov State Art Museum ANRadishev presents "Two faces of time. Domestic Art 1930-50-ies. The exhibition features paintings, sculpture, decorative art from the collection of the State Tretyakov Gallery, State Russian Museum, the Museum Radischevskaya (Saratov).

Exhibition "Two Faces of time. Domestic Art 1930-50-ies "continues the cycle" of the twentieth century in Radischevskaya museum ". As part of this cycle projects were carried out "rough edges" (the vanguard of the 1910-s - early 1920) and "In the time in captivity" (art 1920-30-ies).

Exhibition "Two Faces of Time" is dedicated to the next, the most difficult period of the history of the national culture of the twentieth century - 1930-50-th year - the time of creation in art optimistic myth against the backdrop of the tragic reality.

In 1932, in accordance with the decision of the Politburo of the Central Committee of the CPSU (b) "On the Reconstruction of Literary and Artistic Organizations", the activities of all pre-existing creative associations are terminated, and instead established a single union of writers, artists, composers, and architects. A totalitarian state begins to create a new artistic culture of their own image, transforming art into an instrument of ideology and means of struggle for power. Of all the diverse trends that existed in the arts in post-revolutionary years, chosen one, best suited to these goals, and is declared the sole and universally valid. All other styles, different from the official, condemned as reactionary and hostile.

In 1934 the first congress of Soviet writers in the speeches of Stalin, Gorky and Zhdanov was formulated an aesthetic program of the new art called "socialist realism". His foundation began to take shape in the 1920's masters, forming part of the Association of Artists of Revolutionary Russia (AHRR) - association, enjoy state support. Ahrrovtsy portrayed the events of today or the recent past - the Civil War, the life of working people, signs of new life. Traditional pictorial language coming from the realism of the Wanderers of the XIX century, accessible understanding of the people, was elected a means to easily manipulate the state of mass consciousness. Focusing on subject-content aspect of the picture, the clarity of decision topics, completeness, socialist realists avoid etyudnosti, color expression, the slightest strain - all that gave rise to accusations of formalism.

exhibition includes two main sections, reflecting the hypocrisy of time: samples of the official socialist-realist art and the works of masters, engaged in a formal search. A special place set aside the camp schedule repressed artists.

One of the main objectives of totalitarian art was the glorification of state policy and its leaders. The exhibition features customized ceremonial portraits of Lenin, Stalin and his circle, group composition, dedicated to the events of political life, created the myth of the "wise teacher", "mastermind of the great achievements," homelands leading to a bright future "(" Stalin's speech at the XVI Party Congress " Gerasimov , «Generalissimo of the Soviet Union of Stalin» F. Reshetnikov ,« Portrait of AA Zhdanov » B. Efanova ,« Portrait of VI Lenin "Vasilyev," The members of the Politburo hear it so Mazai ... » F. Modorova ).

Another myth is the theme of life in a happy country," where a man can breathe so freely, they free, joyful work. Fabrics Komsomolsk-youth team on the farm "AN Danilin," Red Sormovo » SP Kotova ,« harvest » F. Belousov ,« Iron & Steel Works. Issue of molten metal "and" Return of the tractor "P. Kuznetsov," The Song of victory "M. Toidze - devoted to socialist construction: the industrialization of the country, the heroes of five-year plans, sing" prosperity "of collective farms, the collective enthusiasm of the postwar years. Optimism totalitarian art existed as a principle, which is not allowed to violate, under any circumstances. He was removed from reality and is introduced as part of the idea of an ideal society.

However, in the arts 1930-50-ies among aggressive dominant ideology there were many masters who have not adopted its major installations. Their work continued to be a part of the world's artistic process. This applies to the most prominent representatives of the generation of masters who spoke at the beginning of the twentieth century renovators plastic language arts ( Robert Rafailovich Falk , , Kuznetsov ), and to more young Moscow artists, who have experienced infatuation vanguard ( A. Drevin , Sokolov , T. Mavrina ). Painting understood by them as a sphere of inner freedom and did not purport to mythological reality. Still lifes, portraits of loved ones, interiors with figures, landscapes - the main genres of this scenic line. It was the work, which is dominated by the value of individual perception. The exhibition features exquisite "Paris" R. Falk, sharp, expressive "Portrait of NA Udaltsova» A. Osmyorkin , lyrical landscapes Drevin A. and M. Sokolova. In line with the mortgaged primitivist tradition, with her characteristic humor, written Portrait AF Sofronova daughter "T. Mavrina and" Seamstresses » G. Rublev .

departure from previous positions are experiencing at this time masters of avant-garde. In "Portrait of a drummer» Kazimir Malevich , represents a synthesis of realism, impressionism and Fauvism, obviously an attraction to figurative art . Reference to easel art and V. Tatlin , moving away from abstract designs to create portraits, landscapes and still lifes. However, free expressive style of his works gave rise to charges of formalism, and his work for many years been excluded from the context of the artistic life.

in the Soviet Union, where the only customer of works of art contested by the state, artists engaged in a formal search, did not receive official recognition, were not free to show their work. Many of them have been repressed and is serving time in the camps (M. Sokolov, V. Yustitsky , Yu Yurkun , N. Lekarenko), some - shot (A. Drevin). In 1939, the camp written by a self-portrait full of tragedy V. Yustitskogo. Deep, penetrating eyes, the artist transmits indomitable strength of spirit, creating a monumental image of man, opposing the system. Work Sokolova, made in the Gulag - the tiny landscapes painted with a match, dipped in ink and diluted tooth powder - show how far he could reach a minimalist artist, who decided not to participate in building a propaganda machine of power. Chosen path allowed him to live his own, not imposed from outside life.

Exhibition "The Two Faces of Time", addressed to one of the most complex, controversial periods of the history of the national culture, gives rise to meditation on the fate of art in the modern world ...

Elena Dorogina, Galina Belyaeva

Source: radmuseumart.ru