Fine Arts and Architecture in the USSR. Soviet painting - the history of modern art Composers of the 30s

"Music Lessons" - The use of ICT in music lessons. Programs for working with music on the computer. Problems: To promote the development of interest in musical culture. Modern technical means. Encyclopedia "Musical Instruments". Dedicated to rock, jazz and pop - music. Help to qualitatively change the control of students' activities.

"Musical image" - Jean Sibelius. V.A. Mozart. What image is revealed in Chopin's waltz No. 47? Words and music O. Mityaev. 6 Musical image. Self-esteem. The main song of the state. Founder of Polish music. Musical introduction to a major piece of music. What is the name of the work of J. Sibelius? With what works of art does the "Sad Waltz" by J. Sibelius sound in tune?

"The Musical Culture of the Baroque" - Edvard Grieg. Wolfgang Amadeus Mozart (1756-91). Mozart's last work, Requiem, remained unfinished. Family of W. A. ​​Mozart. Austrian composer. Legacy left by Mozart. Ornamentality reaches the limits of the possible” T. Vladysheskaya. The birthplace of W.A. Mozart is Salzburg. Operas "Orpheus" (1607), "Ariadne" (1608), etc.

"Musical Composers" - Laureate of the Lenin and State Prizes of the USSR. “Why does genius live endlessly? People's Artist of the USSR. Why does fashion quickly disappear? Andre? Yakovlevich Eshpa? (May 15, 1925) - Soviet and Russian composer. Member of the Union of Composers of the USSR since 1952. Demonstration material for a music lesson (program "Music" ed.

"Kazakh musical instruments" - But the sherter was much smaller and had a stronger sound. Uranus. Asyks were placed under each string on both sides. In ancient times, percussion instruments were widely used in the life of the Kazakhs. Sherter. In addition to reed sybyzgy, there were also wooden ones. The strings are tuned by pegs and by moving the bridges.

"Musical games" - . He didn’t allow me to jump from line to line, he said: “Harmony is broken.” Alexander Sergeevich Pushkin. The teacher introduces the children to the game, explaining the task. Classification of games. On spoons: TUK - TUK - TUK. Winter has come to earth! When a good song sounded, both the composer and the poet were praised. composer Johann Sebastian Bach.

Getting acquainted with the works of Soviet fine art, you immediately notice that it is very different from the previous period in the history of art. This difference lies in the fact that all Soviet art is permeated with Soviet ideology and was called upon to be the conductor of all ideas and decisions of the Soviet state and the Communist Party, as the leading force of Soviet society. If in the art of the 19th - early 20th century artists subjected the existing reality to serious criticism, then in the Soviet period such works were unacceptable. The pathos of building a socialist state was attached like a red thread through all Soviet fine arts. Now, 25 years after the collapse of the USSR, there is a heightened interest in Soviet art on the part of the audience, especially it is becoming interesting for young people. Yes, and the older generation is rethinking a lot in the past history of our country and is also interested in seemingly very familiar works of Soviet painting, sculpture, and architecture.

Art of the period of the October Revolution, the Civil War and the 20s - 30s.

In the first years after the revolution and during the years of the civil war, a huge role was played by combat political poster. The classics of poster art are rightfully considered D.S.Moore and V.N.Deni. Moor's poster "Have you signed up to volunteer?" and now captivates with the expressiveness of the image.

In addition to the printed poster, during the Civil War years, hand-drawn and stenciled posters arose. This "ROSTA Windows", where the poet V. Mayakovsky took an active part.

During the Civil War he worked monumental propaganda plan, compiled by V.I. Lenin, the meaning of which was the construction throughout the country of monuments to famous people who in one way or another contributed to the preparation and accomplishment of the socialist revolution. The executors of this program are primarily sculptors N.A. Andreev I.D. Shadr.

In the 1920s, an association was formed that played a significant role in building a new Soviet society - Russia" (AHRR) "Association of Artists of Revolutionary Russia (AHRR).

In the 1930s, a single Union of Artists of the USSR was created, uniting all artists who, in their work, had to follow the method of socialist realism. Artists of the older generation (B. Kustodiev, K. Yuon and others.) and younger ones sought to reflect the new in Soviet reality.

In creativity I.I. Brodsky reflected the historical and revolutionary theme. The same theme in the works M. Grekova and K. Petrov-Vodkin is sublimely romantic.

In the same years, the epic began "Leniniana", who created countless works dedicated to V.I. Lenin during the Soviet period.

The genre painters (masters of the everyday genre) and portrait painters of the 20s-30s should first of all be called M. Nesterov, P. Konchalovsky, S. Gerasimov, A. Deinek, Y. Pimenov, G. Ryazhsky and other artists.

In the area of landscape such artists worked as K.Yuon, A.Rylov, V.Baksheev and others R.

After the revolution and the civil war, there was a rapid construction of cities in which many monuments to prominent figures of the revolution, parties and states. Famous sculptors were A.Matveev, M.Manizer, N.Tomsky, S.Lebedeva other.

Soviet Fine Arts 1941 -1945 and the first post-war years

During the Great Patriotic War, Soviet art resolutely refuted the saying that "when the guns rumble, the muses are silent." No, during the period of the most cruel and terrible wars in the history of mankind, the muses were not silent. Immediately after the perfidious attack of the German fascists on the Soviet Union, the brush, pencil and chisel of artists became a formidable weapon in the fight against the enemy.

The heroic upsurge of the people, their moral unity became the basis on which the Soviet art of the Patriotic War arose. He was filled with ideas patriotism. These ideas inspired poster artists, inspired painters to create paintings telling about the exploits of the Soviet people, and determined the content of works in all types of art.

A huge role at this time, as in the years of the civil war, was played by a political poster, where artists such as V.S. Ivanov, V.B. Koretsky other. An angry pathos is inherent in their works, in the images they created, the unbending will of the people who stood up to defend the Fatherland is revealed.

A genuine renaissance is experienced during the war by a hand-drawn poster. Following the example of "ROSTA Windows" in 1941 - 1945, numerous sheets were created "Windows TASS". They ridiculed the invaders, exposed the true essence of fascism, called on the people to defend the Motherland. Among the artists working in "Windows TASS", first of all, one should name Kukryniksov (Kupriyanov, Krylov, Sokolov).

The graphic series of this time convincingly tell about the experiences of Soviet people during the war years. Magnificent series of drawings marked with heartache D.A. Shmarinova "We will not forget, we will not forgive!" The severity of the life of besieged Leningrad is captured in a series of drawings A.F. Pakhomov "Leningrad in the days of blockade".

It was difficult for painters to work during the war years: after all, it takes time and appropriate conditions, materials to create a finished picture. Nevertheless, then there were many canvases that were included in the golden fund of Soviet art. The painters of the studio of military artists named after A.B. Grekov tell us about the difficult everyday life of the war, about warrior heroes. They traveled to the fronts, took part in hostilities.

Military artists captured on their canvases everything that they themselves saw and experienced. Among them P.A. Krivonogov, the author of the painting "Victory", B.M. Nemensky and his the picture "Mother", a peasant woman who sheltered soldiers in her hut, survived a lot in a difficult time for the Motherland.

Canvases of great artistic value were created during these years A.A. Deineka, A.A. Plastov, Kukryniksy. Their paintings, dedicated to the heroic deeds of the Soviet people of the Soviet people at the front and in the rear, are imbued with sincere excitement. The artists affirm the moral superiority of the Soviet people over the brutal force of fascism. This manifests the humanism of the people, their faith in the ideals of justice and goodness. The courage of the Russian people is evidenced by historical canvases created during the war, including such as the cycle paintings by E.E. Lansere "Trophies of Russian weapons"(1942), triptych by P.D. Korin "Alexander Nevsky", canvas by A.P. Bubnov "Morning on the Kulikovo field".

Portraiture also told us a lot about the people of the wartime. Many works of outstanding artistic merit have been created in this genre.

The portrait gallery of the period of the Patriotic War was replenished with many sculptural works. People of unbending will, courageous characters, marked by bright individual differences, are represented in sculptural portraits by S.D. Lebedeva, N.V. Tomsky, V.I. Mukhina, V.E. Vuchetich.

During the Patriotic War, Soviet art honorably fulfilled its patriotic duty. The artists came to victory after going through deep experiences, which made it possible in the first post-war years to create works with a complex and multifaceted content.

In the second half of the 1940s and 1950s, art was enriched with new themes and images. Its main tasks during this period were to reflect the successes of post-war construction, the upbringing of morality and communist ideals.

The flourishing of art in the postwar years was largely facilitated by the activities of the Academy of Arts of the USSR, which includes the most significant masters.

The art of the post-war years is also characterized by other features that primarily relate to its content. During these years, the interest of artists to the inner world of man increased. Hence the attention that painters, sculptors, and graphic artists pay to portraits and genre compositions, which make it possible to imagine people in a variety of life situations and show the originality of their characters and experiences. Hence the special humanity and warmth of many works dedicated to the life and life of Soviet people.

Naturally, at this time, artists continue to worry about the events of the recent war. Again and again they turn to the exploits of the people, to the painful experiences of the Soviet people in a harsh time. Such paintings of those years are known as "Mashenka" by B. Nemensky, "Letter from the front" by A. Laktionov, "Rest after the battle" by Y. Nemensky, "Return" by V. Kostecki and many others.

The canvases of these artists are interesting because the theme of the war is solved in them in an everyday genre: they draw scenes from the life of Soviet people in the war and in the rear, talk about their suffering, courage, heroism.

It is noteworthy that the paintings of historical content are also often solved during this period in the everyday genre. Gradually, the peaceful life of the Soviet people, which replaced the hardships of the war years, finds an ever more complete and mature embodiment in the work of many artists. A large number appear genre paintings (i.e., paintings of the everyday genre), striking with a variety of themes and plots. This is the life of the Soviet family, with its simple joys and sorrows ( "Again deuce!" F. Reshetnikova), this is hot labor at plants and factories, on collective farms and state farms ( "Bread" by T. Yablonskaya, "On Peaceful Fields" A. Mylnikova). This is the life of Soviet youth, the development of virgin lands, etc. A particularly important contribution to genre painting was made during this period by artists A.Plastov, S.Chuikov, T.Salakhov other.

Successfully continued to develop during these years, portraiture is P. Korin, V. Efanov and other artists. In the field of landscape painting during this period, in addition to the oldest artists, including M. Saryan, worked R. Nissky, N. Romadin other.

In subsequent years, the fine arts of the Soviet period continued to develop in the same direction.

Despite the totalitarian state control over all spheres of the cultural development of society, the art of the USSR in the 30s of the 20th century did not lag behind the world trends of that time. The introduction of technological progress, as well as new trends from the West, contributed to the flourishing of literature, music, theater and cinema.

A distinctive feature of the Soviet literary process of this period was the confrontation of writers into two opposite groups: some writers supported Stalin's policy and glorified the world socialist revolution, while others opposed the authoritarian regime in every possible way and condemned the leader's inhumane policy.

Russian literature of the 30s experienced its second heyday, and entered the history of world literature as the period of the Silver Age. At that time, unsurpassed masters of the word worked: A. Akhmatova, K. Balmont, V. Bryusov, M. Tsvetaeva, V. Mayakovsky.

Russian prose also showed its literary power: the work of I. Bunin, V. Nabokov, M. Bulgakov, A. Kuprin, I. Ilf and E. Petrov firmly entered the guild of world literary treasures. Literature during this period reflected the fullness of the realities of state and public life.

The works covered those issues that worried the public at that unpredictable time. Many Russian writers were forced to flee from the totalitarian persecution of the authorities to other states, however, they did not interrupt their writing activities abroad either.

In the 1930s, the Soviet theater experienced a period of decline. First of all, the theater was considered as the main instrument of ideological propaganda. Chekhov's immortal productions were eventually replaced by pseudo-realistic performances glorifying the leader and the communist party.

Outstanding actors who tried in every possible way to preserve the originality of the Russian theater were subjected to severe repressions by the father of the Soviet people, among them V. Kachalov, N. Cherkasov, I. Moskvin, M. Yermolova. The same fate befell the most talented director V. Meyerhold, who created his own theatrical school, which was a worthy competitor to the progressive West.

With the development of radio, the age of the birth of pop music began in the USSR. The songs that were broadcast on the radio and recorded on records became available to a wide audience of listeners. Mass song in the Soviet Union was represented by the works of D. Shostakovich, I. Dunaevsky, I. Yuriev, V. Kozin.

The Soviet government completely denied the jazz direction, which was popular in Europe and the USA (this is how the work of L. Utesov, the first Russian jazz performer, was ignored in the USSR). Instead, musical works were welcomed that glorified the socialist system and inspired the nation to labor and exploits in the name of the great revolution.

Cinematography in the USSR

The masters of Soviet cinema of this period were able to achieve significant heights in the development of this art form. A huge contribution to the development of cinema was made by D. Vetrov, G. Alexandrov, A. Dovzhenko. Unsurpassed actresses - Lyubov Orlova, Rina Zelenaya, Faina Ranevskaya - became the symbol of Soviet cinema.

Many films, as well as other works of art, served the propaganda purposes of the Bolsheviks. But still, thanks to the skill of acting, the introduction of sound, high-quality scenery, Soviet films in our time cause genuine admiration of contemporaries. Such tapes as "Merry Fellows", "Spring", "Foundling" and "Earth" - have become a real asset of Soviet cinema.

In 1934, at the First All-Union Congress of Soviet Writers, Maxim Gorky formulated the basic principles of social realism as a method of Soviet literature and art. This moment marks the beginning of a new era of Soviet art, with tighter ideological control and propaganda schemes.

Basic principles:

• - Nationality. As a rule, the heroes of socialist realist works were city and country workers, workers and peasants, representatives of the technical intelligentsia and military personnel, Bolsheviks and non-party people.
• - Ideology. Show the peaceful life of the people, the search for ways to a new, better life, heroic deeds in order to achieve a happy life for all people.
• - Specificity. In the image of reality, show the process of historical development, which, in turn, must correspond to the materialistic understanding of history (in the process of changing the conditions of their existence, people change their consciousness and attitude towards the surrounding reality).

In the years following this resolution of the Central Committee of the All-Union Communist Party of Bolsheviks on the restructuring of literary and artistic organizations, a number of major events were held aimed at developing art in the direction required by the state. The practice of state orders, creative business trips, large-scale thematic and anniversary exhibitions is expanding. Soviet artists create many works (panels, monumental, decorative) for the future of VDNKh. This meant an important stage in the revival of monumental art as an independent one. In these works, it became obvious that the attraction of Soviet art to monumentality is not accidental, but reflects "the grandiose prospects for the development of a socialist society."

In 1918, Lenin, in a conversation with K. Zetkin, defined the tasks of art in Soviet society: “Art belongs to the people. It must have its deepest roots in the very depths of the broad working masses. It must be understood by these masses and loved by them. It must unite the feeling, thought and will of these masses, raise them. It should awaken the artists in them and develop them.”

In the period under review, along with the already existing areas of art, several fundamentally new ones appeared, for example, avant-garde.

Within the framework of the style of monumentalism, sculpture is of the greatest interest. Like all other trends in Soviet art, the sculpture of the period had an agitational focus and a patriotic content in the plots. Lenin's plan for monumental propaganda, adopted in 1918, was of great importance for the development of sculpture. In accordance with this plan, monuments promoting new revolutionary values ​​were to be installed throughout the country. Prominent sculptors were involved in the work: N.A. Andreev (who later became the creator of the sculptural Leniniana). Another prominent sculptor of this period is Ivan Shadr. In 1922, he created the statues "Worker", "Sower", "Peasant", "Red Army". The originality of his method is the generalization of the image on the basis of a specific genre plot, powerful modeling of volumes, expressiveness of movement, romantic pathos. His most striking work is “Cobblestone is a tool of the proletariat. 1905" (1927). In the same year, on the territory of a hydroelectric power station in the Caucasus, ZAGES erected a monument to Lenin of his own work - "one of the best." Vera Mukhina is also formed as a master in the 20s. During this period, she creates a project for the monument "Emancipated Labor" (1920, not preserved), "Peasant Woman" (1927). Of the more mature masters, the work of Sarah Lebedeva, who created portraits, is noted. In her understanding of form, she takes into account the traditions and experience of impressionism. Alexander Matveev is characterized by classical clarity in understanding the constructive basis of plasticity, the harmony of sculptural masses and the ratio of volumes in space (“Undressing Woman”, “Woman Putting on a Shoe”), as well as the famous “October” (1927), where 3 naked men are included in the composition. figures - a combination of classical traditions and the ideal of the "man of the era of the Revolution" (attributes - sickle, hammer, budenovka).

Art forms capable of "living" on the streets in the first years after the revolution played a crucial role in "shaping the social and aesthetic consciousness of the revolutionary people." Therefore, along with monumental sculpture, the political poster received the most active development. It turned out to be the most mobile and operational art form. During the Civil War, this genre was characterized by the following qualities: “the sharpness of the presentation of the material, the instantaneous reaction to rapidly changing events, the propaganda orientation, thanks to which the main features of the plastic language of the poster were formed. They turned out to be laconicism, the conventionality of the image, the clarity of the silhouette and gesture. Posters were extremely common, printed in large numbers and posted everywhere. A special place in the development of the poster is occupied by ROSTA Windows of Satire, in which Cheremnykh, Mikhail Mikhailovich and Vladimir Mayakovsky played an outstanding role. These are stenciled posters, hand-colored and with poetic inscriptions on the topic of the day. They played a huge role in political propaganda and became a new figurative form. The artistic design of the festivities is another new phenomenon of Soviet art that did not have a tradition. The holidays included the anniversaries of the October Revolution, May 1, March 8 and other Soviet holidays. This created a new non-traditional art form that gave painting a new space and function. For the holidays, monumental panels were created, which were characterized by a huge monumental propaganda pathos. Artists created sketches for the design of squares and streets.

The following people took part in the design of these holidays: Petrov-Vodkin, Kustodiev, E. Lansere, S. V. Gerasimov.

Soviet art history divided the masters of Soviet painting of this period into two groups:

• - artists who sought to capture the plots in the usual pictorial language of factual display;
• - artists who used a more complex, figurative perception of modernity.

They created symbolic images in which they tried to express their "poetic, inspired" perception of the era in its new state. Konstantin Yuon created one of the first works dedicated to the image of the revolution (New Planet, 1920, State Tretyakov Gallery), where the event is interpreted on a universal, cosmic scale. Petrov-Vodkin in 1920 created the painting "1918 in Petrograd (Petrograd Madonna)", solving in it the ethical and philosophical problems of the time. Arkady Rylov, as it was believed, in his landscape “In the Blue Space” (1918) also thinks symbolically, expressing “the free breath of humanity, escaping into the vast expanses of the world, to romantic discoveries, to free and strong experiences.”

The graphics also show new images. Nikolai Kupreyanov “in the complex technique of wood engraving seeks to express his impressions of the revolution” (“Armoured Cars”, 1918; “Volley of Aurora”, 1920). In the 1930s, monumental painting became an indispensable part of the entire artistic culture. It depended on the development of architecture and was firmly connected with it. Pre-revolutionary traditions were continued at that time by the former World of Art artist Evgeny Lansere - the painting of the restaurant hall of the Kazan Station (1933) demonstrates his craving for a mobile baroque form. It breaks through the plane of the ceiling, expanding the space outward. Deineka, who also at this time makes a great contribution to monumental painting, works in a different way. His mosaics of the Mayakovskaya station (1938) were created using a modern style: the sharpness of the rhythm, the dynamics of local colorful spots, the energy of angles, the conventions of depicting figures and objects. Topics are mostly sports. Favorsky, a well-known graphic artist, also made a contribution to monumental painting: he applied his system of form construction, developed in book illustration, to new tasks. His murals at the Museum of Maternity and Infancy (1933, together with Lev Bruni) and the House of Models (1935) show his understanding of the role of the plane, the combination of fresco with architecture based on the experience of ancient Russian painting. (Both works have not survived).

Constructivism became the dominant style in the architecture of the 1920s.

Constructivists tried to use new technical possibilities to create simple, logical, functionally justified forms, expedient designs. An example of the architecture of Soviet constructivism is the projects of the Vesnin brothers. The most grandiose of them - the Palace of Labor was never put into practice, but had a significant impact on the development of domestic architecture. Unfortunately, architectural monuments were also destroyed: only in the 30s. in Moscow, the Sukharev Tower, the Cathedral of Christ the Savior, the Miracle Monastery in the Kremlin, the Red Gate and hundreds of obscure urban and rural churches, many of which were of historical and artistic value, were destroyed.

In connection with the political nature of Soviet art, many artistic associations and groupings are being created with their own platforms and manifestos. Art was in search and was diverse. The main groupings were AHRR, OST, and also "4 arts". The Association of Artists of Revolutionary Russia was founded in 1922. Its core was made up of former Wanderers, whose manner had a great influence on the approach of the group - the realistic everyday writing language of the late Wanderers, "going to the people" and thematic expositions. In addition to the themes of the paintings (dictated by the revolution), the AHRR was characterized by the organization of thematic exhibitions such as "Life and Life of Workers", "Life and Life of the Red Army".

The main masters and works of the group: Isaac Brodsky ("Lenin's Speech at the Putilov Factory", "Lenin in Smolny"), Georgy Ryazhsky ("Delegate", 1927; "Chairman", 1928), portrait painter Sergei Malyutin ("Portrait of Furmanov", 1922 ), Abram Arkhipov, Efim Cheptsov (“Meeting of the Village”, 1924), Vasily Yakovlev (“Transport is getting better”, 1923), Mitrofan Grekov (“Tachanka”, 1925, later “To the Kuban” and “Trumpeters of the First Cavalry”, 1934 ). The Society of Easel Artists, founded in 1925, included artists with less conservative views in terms of painting, mainly students of VKHUTEMAS. These were: Williams "Hamburg Uprising"), Deineka ("At the construction of new workshops", 1925; "Before descending into the mine", 1924; "Defense of Petrograd", 1928), Labas Luchishkin ("The ball flew away", "I love life ”), Pimenov (“Heavy Industry”), Tyshler, Shterenberg and others. They supported the slogan of the revival and development of the easel painting, but they were guided not by realism, but by the experience of contemporary expressionists. Of the topics they were close to industrialization, city life and sports. The Four Arts Society was founded by artists formerly part of the World of Art and the Blue Rose, who cared about the culture and language of painting. The most prominent members of the association: Pavel Kuznetsov, Petrov-Vodkin, Saryan, Favorsky and many other outstanding masters. The society was characterized by a philosophical background with adequate plastic expression. The Society of Moscow Artists included former members of the Moscow Painters, Makovets and Genesis associations, as well as members of the Jack of Diamonds. The most active artists: Pyotr Konchalovsky, Ilya Mashkov, Lentulov, Alexander Kuprin, Robert Falk, Vasily Rozhdestvensky, Osmerkin, Sergei Gerasimov, Nikolai Chernyshev, Igor Grabar. Artists created "thematic" paintings, using the accumulated "jack of diamonds" and so on. trends of the avant-garde school. The creativity of these groups was a symptom of the fact that the consciousness of the masters of the older generation was trying to adapt to new realities. In the 1920s, two large-scale exhibitions were held that consolidated the trends - for the 10th anniversary of October and the Red Army, as well as the "Exhibition of Art of the Peoples of the USSR" (1927).

The leading sphere of development of literature in the 20s. undoubtedly is poetry. In terms of form, literary life has largely remained the same. As at the beginning of the century, literary circles set the tone for it, many of which survived the bloody hard times and continued to operate in the 20s: symbolists, futurists, acmeists, etc. New circles and associations arise, but the rivalry between them now goes beyond the artistic spheres and often takes on political overtones. The associations RAPP, Pereval, Serapionov Brothers and LEF were of the greatest importance for the development of literature.

RAPP (Russian Association of Proletarian Writers) took shape at the First All-Union Conference of Proletarian Writers in 1925. It included writers (among the most famous A. Fadeev and D. Furmanov) and literary critics. The predecessor of the RAPP was Proletkult, one of the most massive organizations founded in 1917. They treated as "class enemies" almost all writers who were not members of their organization. Among the authors who were attacked by the RAPP members were not only A. Akhmatova, Z. Gippius, I. Bunin, but even such recognized "singers of the revolution" as M. Gorky and V. Mayakovsky. The ideological opposition to the RAPP was made up of the literary group "Pass".

The Serapion Brothers group was created in 1921 in the Petrograd House of Arts. The group included such famous writers as V. Ivanov, M. Zoshchenko, K. Fedin and others.

LEF - the left front of the arts. The positions of the members of this organization (V. Mayakovsky, N. Aseev, S. Eisenstein and others) are very contradictory. Combining futurism with innovation in the spirit of the proletarian, they came up with a very fantastic idea of ​​creating some kind of "productive" art, which was supposed to perform in society the utilitarian function of providing a favorable atmosphere for material production. Art was considered as an element of technical construction, without any subtext, fiction of psychologism, etc.

Of great importance for the development of Russian literature of the twentieth century. played the poetic work of V. Ya. Bryusov, E. G. Bagritsky, O. E. Mandelstam, B. L. Pasternak, D. Poor, "peasant" poets, whose brightest representative was Yesenin's friend N. A. Klyuev. A special page in the history of Russian literature is the work of poets and writers who did not accept the revolution and were forced to leave the country. Among them are such names as M. I. Tsvetaeva, Z. N. Gippius, I. A. Bunin, A. N. Tolstoy, V. V. Nabokov. Some of them, realizing the impossibility for themselves to live away from their homeland, subsequently returned (Tsvetaeva, Tolstoy). Modernist tendencies in literature manifested themselves in the work of E. I. Zamyatin, the author of the fantastic dystopian novel “We” (1924). Satirical literature of the 20s. represented by stories by M. Zoshchenko; novels by co-authors I. Ilf (I. A. Fainzilberg) and E. Petrov (E. P. Kataev) "The Twelve Chairs" (1928), "The Golden Calf" (1931), etc.

In the 30s. several major works appeared that entered the history of Russian culture. Sholokhov creates the novels "Quiet Flows the Don", "Virgin Soil Upturned". Sholokhov's work received worldwide recognition: for his literary merits, he was awarded the Nobel Prize. In the thirties, M. Gorky completed his last epic novel, The Life of Klim Samgin. The work of N. A. Ostrovsky, the author of the novel “How the Steel Was Tempered” (1934), was very popular. A. N. Tolstoy ("Peter I" 1929-1945) became a classic of the Soviet historical novel. The twenties and thirties were the heyday of children's literature. Several generations of Soviet people grew up on the books of K. I. Chukovsky, S. Ya. Marshak, A. P. Gaidar, S. V. Mikhalkov, A. L. Barto, V. A. Kaverin, L. A. Kassil, V P. Kataeva.

In 1928, harassed by Soviet criticism, M. A. Bulgakov, without any hope of publication, begins to write his best novel, The Master and Margarita. Work on the novel continued until the death of the writer in 1940. This work was published only in 1966. In the late 80s, the works of A.P. Platonov (Klimentov) Chevengur, Pit, Juvenile Sea were published . The poets A. A. Akhmatova, B. L. Pasternak worked “on the table”. The fate of Mandelstam (1891-1938) is tragic. The poet of extraordinary strength and great figurative accuracy, was among the writers who, having accepted the October Revolution in their time, could not get along in Stalin's society. In 1938 he was repressed.

In the 30s. The Soviet Union is gradually beginning to fence itself off from the rest of the world. Behind the "Iron Curtain" were many Russian writers who, in spite of everything, continue to work. The writer of the first magnitude was the poet and prose writer Ivan Alekseevich Bunin (1870-1953). Bunin from the very beginning did not accept the revolution and emigrated to France (the story "Mitya's Love", the novel "The Life of Arsenyev", the collection of short stories "Dark Alleys"). In 1933 he was awarded the Nobel Prize.

In the early 30s. the existence of free creative circles and groups came to an end. In 1934, at the First All-Union Congress of Soviet Writers, the “Union of Writers” was organized, into which all people engaged in literary work were forced to join. The Writers' Union has become an instrument of total power control over the creative process. It was impossible not to be a member of the Union, because in this case the writer was deprived of the opportunity to publish his works and, moreover, could be prosecuted for "parasitism." M. Gorky stood at the origins of this organization, but his chairmanship in it did not last long. After his death in 1936, A. A. Fadeev became chairman. In addition to the Union of Writers, other "creative" unions were organized: the Union of Artists, the Union of Architects, the Union of Composers. A period of uniformity began in Soviet art.

The revolution unleashed powerful creative forces. This also affected the development of domestic theatrical art. Numerous theatrical groups sprang up. The Bolshoi Drama Theater in Leningrad, the first artistic director of which was A. Blok, played an important role in the development of theatrical art. V. Meyerhold, the theater. E. Vakhtangov, Moscow Theater. Moscow City Council.

By the mid-20s, the emergence of Soviet dramaturgy, which had a huge impact on the development of theatrical art, dates back. The major events of the theatrical seasons of 1925-1927. steel "Storm" V. Bill-Belotserkovsky in the theater. MGSPS, “Love Yarovaya” by K. Trenev at the Maly Theater, “The Rupture” by B. Lavrenev at the Theater. E. Vakhtangov and at the Bolshoi Drama Theatre, “Armored Train 14-69” by V. Ivanov at the Moscow Art Theater. The classics occupied a strong place in the theater repertoire. Attempts to read it again were made both by academic theaters (A. Ostrovsky's Hot Heart at the Moscow Art Theater) and by the "leftists" ("The Forest" by A. Ostrovsky and N. Gogol's "Inspector General" at the V. Meyerhold Theater).

If the drama theaters rebuilt their repertoire by the end of the first Soviet decade, the main place in the activities of opera and ballet groups was still occupied by the classics. The only major success in reflecting the contemporary theme was the staging of R. Glière's ballet The Red Poppy (The Red Flower). In the countries of Western Europe and America, L.V. Sobinov, A.V. Nezhdanova, N.S. Golovanov, the troupe of the Moscow Art Theater, the Chamber Theater, the Studio. E. Vakhtangov, Quartet of ancient Russian instruments

The musical life of the country in those years is associated with the names of S. Prokofiev, D. Shostakovich, A. Khachaturian, T. Khrennikov, D. Kabalevsky, I. Dunaevsky and others. Young conductors E. Mravinsky, B. Khaikin came to the fore. Musical ensembles were created, which later glorified the domestic musical culture: the Quartet. Beethoven, the Grand State Symphony Orchestra, the State Philharmonic Orchestra, etc. In 1932, the Union of Composers of the USSR was formed.

Along with the actors of the older generation (M. N. Ermolova, A. M. Yuzhin, A. A. Ostuzhev, V. I. Kachalov, O. L. Knipper-Chekhova), a new revolutionary theater was emerging. The search for new forms of stage expression is characteristic of the theater that worked under the direction of V. E. Meyerhold (now the Meyerhold Theater). V. Mayakovsky's plays Mystery Buff (1921), The Bug (1929) and others were staged on the stage of this theater. A major contribution to the development of the theater was made by the director of the 3rd studio of the Moscow Art Theater ; the organizer and leader of the Chamber Theater, the stage art reformer A. Ya. Tairov.

One of the most important and interesting phenomena in the history of culture of the 20s. was the beginning of the development of Soviet cinema. Documentary filmmaking is developing, which has become one of the most effective tools for ideological struggle and agitation along with the poster. An important milestone in the development of fiction cinema was the film by Sergei Mikhailovich Eisenstein (1898 - 1948) "Battleship Potemkin" (1925), which became one of the world's masterpieces. The Symbolists, Futurists, Impressionists, Imagists, etc. fell under a flurry of criticism. They were accused of “formalist quirks”, that their art was not needed by the Soviet people, that it was hostile to socialism. Composer D. Shostakovich, director S. Eisenstein, writers B. Pasternak, Yu. Olesha and others were among the "alien" ones. Many artists were repressed.

political culture totalitarianism ideology

CULTURAL REVOLUTION It was directed: The Cultural Revolution included: In the USSR in the years. 20th century the Cultural Revolution took place. It was aimed: 1. at changing the social composition of the post-revolutionary intelligentsia, 2. at breaking with the traditions of the pre-revolutionary cultural heritage. The Cultural Revolution provided for: 1. The elimination of illiteracy, 2. The creation of a socialist system of public education and enlightenment, 3. The development of science, literature, and art under party control.

Visual arts In the 1930s, significant changes took place in the visual arts. Despite the fact that the Association of Traveling Exhibitions and the Union of Russian Artists continue to exist in the country, new associations appear in the spirit of the times - the Association of Artists of Proletarian Russia, the Association of Proletarian Artists d. artist F. Shurpin 1930 artist G. Klutsis

Socialist realism By the mid-30s. The method of socialist realism (the depiction of reality not as it is, but as it should be from the point of view of the interests of the struggle for socialism) was declared a universally obligatory artistic method for Soviet art. The decisive events in this sense were the creation in 1934 of the Union of Soviet Writers and a number of ideological campaigns. Nikolaev K. "Laying a railway track in Magnitogorsk"

M. Grekov. "Trumpeters of the First Cavalry Army", 1934 Tikhova M. "Sculpture Laboratory of the Lomonosov Porcelain Factory"

POSTER ART During the period of civil war and intervention, the political poster completely separated from other types of artistic graphics (advertising, posters, political drawings). The poster is characterized by a catchy visibility of the image, promptness of response, and general accessibility of the content. This was very important for a country in which most of the population was illiterate. KUKRYNIKSY Efimov B., Ioffe M., 1936

EASEL PAINTING Soviet easel painting has a craving for significant monumental forms and images. Painting is becoming broader in subject matter and less etude in manner. “Heroic generalization penetrates the easel painting” One of the most significant representatives of easel painting of this period, Boris Ioganson. He brings into his works "a new revolutionary content, consonant with the era." Two of his paintings are especially popular: Interrogation of the Communists (1933) and At the Old Ural Factory (1937). "Interrogation of Communists" "At the old Ural factory"

MONUMENTAL PAINTING In the 1950s, monumental painting became an indispensable part of the entire artistic culture. It depended on the development of architecture and was firmly connected with it. Pre-revolutionary traditions were continued at this time by Yevgeny Lansere, the painting of the restaurant hall of the Kazan Station (1933) demonstrates his craving for a mobile baroque form. Deineka also at this time makes a great contribution to monumental painting. His mosaics of the Mayakovskaya station (1938) were created using a modern style: the sharpness of the rhythm, the dynamics of local colorful spots, the energy of angles, the conventionality of the image of figures and objects. Favorsky, a well-known graphic artist, also made a contribution to monumental painting: he applied his system of form construction, developed in book illustration, to new tasks. His paintings of the Museum of Protective Motherhood and Infancy (1933, together with Lev Bruni) show his understanding of the role of the plane, the combination of fresco with architecture based on the experience of ancient Russian painting.

LANDSCAPE A variety of stylistic directions is achieved: In the 1980s, the era of the substantiated method of socialist realism in art in general, and painting in particular, began in the USSR. A variety of stylistic directions is achieved: 1. The lyrical line of landscape painting, 2. Industrial landscape.

PORTRAIT GENRE The development of the pictorial portrait in the style of the “first wave” avant-garde had exhausted itself by the 1930s. In the portrait genre, the techniques and style of a realistic solution to the image of a contemporary were again in demand, while the ideological, propaganda function of the portrait was declared as one of the main tasks. M. Nesterov "Portrait of Academician I. P. Pavlov" 1930. Nesterov M. "Portrait of artists P.D. and A.D. Korinykh.", 1930

RESULT: The results of the transformations of the first years of Soviet power in the field of culture were far from unambiguous. On the one hand, certain successes were achieved in the elimination of illiteracy, there was a rise in the activity of the creative intelligentsia, which was expressed in the organization of new and the revival of old societies and associations, the creation of values ​​in the field of spiritual and material culture. On the other hand, culture has become part of state policy, falling under the control of the party and government apparatus.