The position of the Fine Arts Department was most fully expressed by Nikolay Punin in 1919. They held positions within the Soviet government and local Moscow and Petrograd Soviets, determining the policy of the Fine Arts department. Ī group of prominent supporters of leftist views included David Shterenberg, Alexander Drevin, Vladimir Tatlin, Wassily Kandinsky, Kazimir Malevich, Osip Brik, Sofya Dymshits-Tolstaya, Olga Rozanova, Mikhail Matyushin, and Nathan Altman. In the early 1930s, Kazimir Malevich (1879–1935) returned to figurative art. At the turn of the 1930s, many avant-garde tendencies had exhausted themselves, and their former proponents began depicting real-life objects as they attempted to return to the traditional system of painted images, including the leading Jack of Diamonds artists. This struggle was made even more bitter by the growing crisis of radical leftist art. Russian Museumĭuring the 1920s, there was intense ideological competition between different artistic groupings striving to determine the forms and directions in which Soviet art would develop, seeking to occupy key posts in cultural institutions and to win the favor and support of the authorities. Soviet art of the post-revolutionary period Boris Kustodiev: Celebration Marking the Opening of the 2nd Congress of the Comintern on Uritsky Square in Petrograd on 19 June 1920. The Russian Revolution led to an artistic and cultural shift within Russia and the Soviet Union as a whole, including a new focus on socialist realism in officially approved art. Names of paintings are given in Russian for comfortable googling.Soviet art is the visual art style produced after the Russian Revolution of 1917 and during the existence of the Soviet Union, until its collapse in 1991. Socialistic realism paintings are magnificent and interesting to explore- besause it's truly art of most progressive socioeconomic formation.Why do you blame Soviet art in propagandism, and show it just like recombining images, opinions, facts to make up primitive and secondary picture - but next time do just the same (because ignoring positive sides of historical period or phenomenon and highlighting only negative ones is a kind of propaganda too)? But it's not a church, it's museum! And personages are not praying - they are discussing medieval art, talking about its history and authors! Obviously, it's a new victory of communism - in giving an opportunity to get well-educated, do unalienated work (can you imagine Ford's worker, who goes to museum after his shift?), and have a freedom of religious beliefs for all the people, what was impossible in tsar time). This is what we don't consider or accept as great art for that period.Īnd that's all that you can say about socialistic art? Where are sucn artists like Deineca (author of a big amount of paintings and mosaicas in Moscow subway what literally sparkling with light, energy and life (for example, "Будущие летчики", " Эстафета по кольцу Б", and heroic "Оборона Севастополя"), Pimenov (his painting "Новая Москва" is a great illustration of progress, social welfare and equal rights what can be possible only in socialistic state), Shatilov (in his painting "В Рублевском зале Третьяковской галереи" we can see young people in front of ancient icons. These were beautiful, idealistic, academic or classical style artwork that completely ignored the problems, events and changing aspects of modern society. While they chose art that fit with their ideologies for their Great Exhibition of German Art, that was not really propaganda art. In the previous sections there was an essay about the difference between what Nazis perceived as good art and "degenerate art". Russian communist poster art and russian communist animation are legendary. And of all propaganda art, Russian communist art was really outstanding. I think that all propaganda are accepted as a genre of art. I don't understand what you mean by this work being semi-accepted and nazi propaganda not. Rejlander's work is more like photo-manipulation and early "photoshop". By photomontage they mean a collage of photographs, like the work of Stepanova. Some definitions say that photomontage was first used by dadaists after 1915, and this definition is pretty much ignoring the photographer's experiments in the darkroom that came before. Both are called photo montage, and it is confusing. Stepanova cut up photographs and rearranged them on a clipboard (or new sheet of paper or whatever). This is what Rejlander did, as a photographer working in a darkroom. I don't like the photoshop analogy here, because manipulating photographs started with photography itself, in the darkroom with dodging and burning, and later by experimenting with combining different objects from different negatives onto a single photograph. Oscar Rejlander and Stepanova did different things.
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