Art during the Great Patriotic War. Fine Arts of the USSR during the Great Patriotic War

After the attack of fascist Germany on the USSR, all cultural institutions Yaroslavl region restructured their work, taking into account wartime.

Watercolor by Sergei Svetlitsky "Yaroslavl. Peasant Street". 1942

War museums

Museums, which were the most important cultural and educational centers in the region, after the outbreak of the war curtailed their research programs. New expositions and exhibitions ceased to be built. The reasons for this state of affairs were, first of all, that the staff was reduced, museums gave their premises for military needs. The remaining co-workers in the first years of the war continued to engage only in lecture work.

In 1943, the Yaroslavl Regional Museum of Local Lore (now a museum-reserve) began to restore the permanent exhibition. Resumed the work of the department of nature. It presented the works of Darwinist scientists: Michurin - on the breeding of new varieties of plants; Lysenko - on vernalization and cuts of potatoes, as well as the works of Derzhavin, Tsitsin, Ivanov. The exposition presented a variety of flora and fauna of the Yaroslavl region, minerals, sedimentary rocks, geological sections. Mammoth bones found on the territory of the region were also exhibited.

In 1943, an exposition on the history of Yaroslavl in the 17th century was presented in the Church of Elijah the Prophet. This was not done by chance: a historical parallel was drawn with the events of the Polish invasion. Samples of clothes, furniture, utensils were presented, introducing the life of that era. Such an event as the formation of a people's militia was also reflected, as well as applied art era.

During the war, the Yaroslavl Regional Museum did not stop stock work. In 1944, many new exhibits were acquired: paintings of the early 19th century depicting birds and made of feathers, porcelain items from the Kuznetsov factory, released on the 100th anniversary of the Moscow, photographs with views of the cities of the region at the end of the 19th century.

Artistic collections have replenished with collections of paintings: drawings by Academician Nikolsky on the theme “Leningrad in the days of the blockade”, works by Count Yudovich on the theme “Leningrad in 1942.” and "The Estate of the Poet Nekrasov in Karabikha". Many paintings with views of the corners of the Yaroslavl Territory were received.

Many modern documents, photographs, things, letters, portraits of Yaroslavl order bearers, trophy things were collected.

In 1945, the museum prepared an exhibition "Yaroslavl region in the days of the Great Patriotic War". The exhibition featured 2500 exhibits. Among them were samples of products of neck enterprises, shoe shops, artels engaged in the manufacture of knitwear, and the work of homeworkers. The portraits of the leaders of production were presented. Many children's toys were exhibited. The work of the enterprises Yarenergo, Yarstroy, Glavlessnab was presented in layouts, diagrams, maps. Samples of products were presented in the department of agriculture.

Work continued to restore the activity of the museum departments. Already in the autumn of 1946, the departments of socialist construction, the historical department and the departments of the Great Patriotic War began to work. N. V. Kuznetsov, A. K. Sakulin, A. A. Romanycheva and others played an important role in the restoration of the museum’s work.

During the war years, other museums of the region also worked. So, in 1943, the Pereslavl Museum of Local Lore received 148 works of artists - students D. N. Kardovsky. Most of the paintings were dedicated to the Great Patriotic War. In the art gallery at the museum, it was decided to create a special section "Honored Art Worker of the Republic, Professor D. N. Kardovsky and his students." Materials were collected about him, his activities at the Academy of Arts.

In 1944, the Pereslavl Museum again resumed the exposition, curtailed in 1941, on the theme “Russian sewing and fabrics of the 18th-20th centuries. ”, which presented samples of Russian prints, fabrics, embroidery, paintings embroidered with silk. Military conditions dictated the corresponding theme. A new exposition "The Patriotic War of 1812" was opened in the historical department, where weapons, uniforms of soldiers and officers were presented. There was also a collection of Russian and English cartoons on military themes, portraits of war heroes, including the Povalishins, natives of Pereslavl.

In 1944, the local history museum of Uglich was also replenished with new exhibits. The exhibition dedicated to the Great Patriotic War featured 12 water-colours by the artist Buchkin on military themes. As in other museums, exhibitions about the military past of the country were built here. The Seven Years' War and the events associated with the capture of Berlin in 1760 were presented, in connection with which a rare exhibit was exhibited - a Prussian officer's broadsword, on the hilt of which was the monogram of Frederick II.

The events of 1812 were also presented in the museum. This exhibition was located in the Church of Demetrius on the Blood, where a funeral chariot was demonstrated, in which the body of Field Marshal M.I. Kutuzov was carried to St. Petersburg, and the original banner of one of the Russian infantry regiments. A portrait of Kutuzov's wife was also exhibited here, as well as a mantel clock that belonged to him.

The attention of the authorities to the monuments of history and culture did not weaken even during the war years. The Commission for Registration and Protection of Monuments of Art continued to work.

A survey conducted by the Commission in the spring of 1943 in the cities of Yaroslavl, Tutaev, Rostov the Great showed that many monuments here were in a threatening state and required the fastest work on their restoration.

Libraries

The forms of work of libraries did not change even in wartime, their activities were regulated by the order of the People's Commissariat of Education "On the work of public libraries in wartime." Librarians held lectures and talks, familiarized the population with the situation on the fronts, organized exhibitions of a patriotic orientation.

The regional library formed mobile libraries for hospitals and even for prisoner-of-war camps located in the vicinity of the city. In 1942, a collection of books was carried out for the regions of the Kalinin region, liberated from the Germans. There has been a marked increase in interest in literature on defense topics. The library replenished its funds with 2500 copies of just such books.

Interest in such books as "War and Peace" by L. Tolstoy, military notes by Denis Davydov, "Napoleon" by E. Tarle, "Chapaev" and "Mutiny" by D. Furmanov increased. The library arranged special exhibitions on the theme of the Great Patriotic War, where there were sections dedicated to the heroic past of the Russian people, Russian generals, and modern military events. In 1942, for example, 18 patriotic conversations with readers were held near such an exhibition.

The library helped readers who studied military affairs. A corner dedicated to air defense was created. Here, in addition to books, models were presented that gave information about the device of a grenade, a fire extinguisher. Samples of explosives were shown. The posters told about the behavior of the population during air raids.

The staff of the reading room of the regional library gave lectures on the international situation, on the events on the fronts of the Great Patriotic War. By the spring of 1942, more than two thousand people had listened to such lectures.

Librarians of the Yaroslavl region with the help Komsomol organizations conducted a collection of books among the local population for military units, hospitals, hospital trains. In 1942, the collection of books was carried out by activists of the Yaroslavl libraries named after. Krylova, them. Chekhov, libraries of the Zavolzhsky district. Over 6 thousand books were handed over from Rybinsk. From these books, mobile libraries were formed for military units.

club work

Workers and country clubs, houses of culture, reading huts also did a lot of cultural and educational work, aimed primarily at patriotic education the population of the region. This work was done by both professional workers and voluntary assistants, Komsomol members, students, and local intelligentsia.

In 1942, a collective-farm defense-anti-fascist film festival was held in the districts of the region, the program of which included fiction, newsreels and films on scientific and defense topics. The audience saw films about the great commanders A. Nevsky, A. Suvorov, Minin and Pozharsky, as well as about the heroes of the civil war. The anti-fascist film “Family Oppenheim” was shown.

Among the training films on defense, “Fighting enemy tanks”, “Hand-to-hand combat”, “Skier-fighter”, etc. were shown. Military newsreels and combat film collections were shown in the chronicle. Viewers saw the solemn meeting of the Moscow Council on November 6 and the parade on Red Square on November 7, 1941.

In 1943, a film festival was held in the Yaroslavl region, dedicated to the day Constitution. G. Grishin, head of the department of cinematography of the Yaroslavl region, led them. Before the start of the screenings, party and Komsomol workers made presentations and discussions. Most of the films presented were on military topics.

A lot of attention in the clubs was given to lectures. Thus, in just three months in 1941, the intelligentsia of the Bolsheselsky district delivered about 150 lectures and reports on defense topics. Defense circles, drama and choir groups were created at 19 reading rooms in the district.

During 1944, rural reading huts and clubs held 19,300 lectures and 21,148 talks on agricultural, political, and cultural topics. In addition, amateur art groups that organized mass cultural work played an important role in their work. First of all, we are talking about performances in military units, hospitals, as well as at enterprises and collective farms.

Quite regularly during the war, amateur art reviews were held. In Yaroslavl, such reviews were held in 1942 and in 1943. The collectives of the plant participated in the latter. Red Perekop”, where the song and dance ensemble, created in 1941, was very popular, as well as the clubs “Giant”, “Severohod”, a locomotive repair plant. These were the most professionally strong teams. The concert brigades of these clubs only in the first months of the war gave from 200 to 500 concerts.

Similar reviews were held in countryside. Amateur activity was especially actively developed in the Myshkinsky district. Here, in 1944, several dozens of creative teams participated in the review. The best were presented at the regional Olympiad. Myshkinsky House of Culture initiated socialist competition between houses of culture. People's Commissariat for Education of the RSFSR approved and supported this initiative.

Houses of culture competed in several areas: the best staging of cultural and educational work, the organization of lecture groups, meetings with front-line soldiers, discussion of films, visual propaganda, exhibitions, etc.

Komsomol members actively participated in the establishment of cultural and educational work. In the Rybinsk region in 1943, Komsomol members at clubs, reading rooms and red corners created more than a hundred creative circles. Particular attention was paid to military training.

Similar work was carried out by the staff of the House of the Red Army in Yaroslavl. First of all, the house served the military units through the trips of concert teams. At the House of the Red Army, a methodical amateur arts workshop was created, in which professional theater actors, composers, and other art workers worked as consultants.

literary life

During the war, most of the writers ended up at the front. They continued their activities in front-line newspapers or became political workers.

Despite the difficulties of wartime, in 1942 the Yaroslavl House of the Red Army and the House of Folk Art prepared for publication a collection of songs about the heroes of the Great Patriotic War. The collection was compiled by Yaroslavl poets and composers. It includes 17 songs with words and notes. So, the Red Army soldier M. Zharov wrote the song “Sailors go to battle”, the music for which was written by A. Nuzhin. The collection also included a song about the Yaroslavl hero-pilot M. Zhukov, “Yaroslavl-militia”. It was planned to issue 10 thousand leaflets with lyrics and notes.

Many Yaroslavl writers went to the active army, among them V. A. Smirnov, M. S. Lisyansky, A. A. Kuznetsov, A. M. Flyagin and others. Many became war correspondents. So, A. Kuznetsov was a correspondent for the Izvestia newspaper. V. Smirnov was the editor of the newspaper of the 243rd division "To fight for the Motherland". Then this newspaper was edited by M. Lisyansky, who wrote many poems at the front and published them in two collections. P. Losev was the editor of the front-line newspaper. A. Kuzmin worked as a correspondent for the newspaper of the 234th Infantry Division “For the Fatherland”, who wrote a book of poems “A Word about Courage” at the front.

Sometimes front-line poets came to Yaroslavl for a short time. In July 1944, A. Zharov and S. Vasiliev performed at a literary evening held in the theater. Volkov. They shared their impressions of front-line life with the audience, read their works. Then they spoke at the enterprises of the city, met with party and Komsomol activists, writers and journalists.

Yaroslavl writers A. Kuznetsov, A. Flyagin, V. Shuldeshov did not return from the front.

Theater during the war

During the war years, the Yaroslavl Volkov Theater did not stand aside from new tasks. Many actors have gone to the front. Directors S. M. Orshansky joined the ranks of the Yaroslavl Communist Division, D. M. Mansky, actors V. K. Mosyagin, S. P. Avericheva, V. P. Mitrofanov, V. E. Sokolov and others.

The theater began to prepare front-line concert teams. The first trip to the front took place in 1942. Yaroslavl gave 40 performances in military units, for which the brigade was awarded the badge of the guards. In the next two years, three more trips to the front took place.

Similar work was going on in Yaroslavl itself. The artists gave concerts and performances, participated in raising funds for the construction of the Soviet Artist squadron and a special aircraft, the Volkov Theater.

In addition to the Volkov Theater, other groups also went to the front: the Rybinsk Drama Theater, the Yaroslavl Mobile Theater, and the Rostov Drama Theater. Together they gave about 4 thousand performances and concerts during the war years. The Rostov theater traveled to the areas liberated from the Germans and was transferred with all the staff and property to the city of Yelets, liberated from the Germans.

During the war years, such patriotic plays as "Front" by A. Korneichuk, "Invasion" by L. Leonov, "Russian People" by K. Simonov were staged on the stage of the Volkovsky Theater. The director played a special role in their production. I. A. Rostovtsev. In addition to these plays, the repertoire of the war years included the performances Field Marshal Kutuzov, Commander Suvorov, General Brusilov. The latter was first shown on the theater stage.

In 1944, studios were created at many theaters. There was such a studio at the Volkovsky Theatre. She became a forge of young actors for various theater groups. It taught Russian and foreign literature, theater history, French, a number of professional subjects: plastic arts, fencing, etc. Anyone with an education of at least 7 classes could enter the studio.

The studio began to fulfill the task of serving schoolchildren. The first performance was the production of "Crystal Slipper" based on the fairy tale "Cinderella". It was a musical performance, to which composer B. M. Nazimov, artist A. G. Novikov, choreographer O. G. Sudarkin were involved.

In addition to trips to the front, active theatrical work also took place within the region. So the Rostov City Theater only in 1942 staged 52 performances. These were plays by Ostrovsky, Gorky, Gerasimov. The theater traveled to Borisoglebsky, Gavrilov-Yamsky, Petrovsky and Rostov regions, where 40 performances were shown. These performances were watched by about 35 thousand spectators.

Despite the wartime, the cities of the region exchanged theater groups. In 1942, the Rybinsk Theater arrived in Yaroslavl. He showed the musical comedy Mutual Love. The response to the military events was the appearance on the playbill of the theater of Lipskerov's play "Nadezhda Durova" and the play "The Day Will Come" - about the occupation of France by the Germans. In Yaroslavl, the premiere of the play "Jester Balakirev" based on the play by A. Mariengof took place.

The Yaroslavl Regional Collective-Farm and State-Farm Theater repeatedly traveled to the regions of the region. His repertoire included productions of one-act plays on defense and anti-fascist themes. In 1942 alone, the team visited 200 collective farms, state farms, MTS and orphanages. He gave more than 300 performances, which were watched by over 100 thousand spectators. During the trips, combat leaflets were issued, conversations were held, and assistance was provided to amateur art groups.

During the war years, the Yaroslavl Puppet Theater showed 1638 performances - they played in hospitals, factory shops, schools and orphanages. 13 new productions were carried out.

Amateur theatrical groups also took part in the theatrical life. So the productions of the theater circle of the Davydkovsky House of Culture of the Yaroslavl region were very popular with the audience. In addition to the club, they showed performances in neighboring village councils. In 1942, for example, the collective transferred the money from their productions to the construction of a tank column.

The drama group of the Myshkinsky House of Culture in 1942 gave about 50 performances. His repertoire included plays by Simonov, Korneichuk, reflecting military-patriotic themes. From their ranks, they formed propaganda teams that spoke to agricultural workers during field work.

Music life

Musical groups of the region were also active. The leading position in this sphere of culture was played by the Yaroslavl Philharmonic. She formed several concert brigades for performances in the army. In addition, military echelons and hospitals were served by the musicians. The Philharmonic helped many amateur musical groups.

Many concerts were given in the region. In 1942 the concert brigade of the Philharmonic passed along the route of the Northern Railway. Artists performed at the stations of Berendeyevo, Beklemishevo, Petrovsk, Kosmynino and others. She gave a number of concerts in the villages of peat miners and lumberjacks.

In 1944, the Philharmonic Ensemble under the direction of Ya. S. Rostovtsev, which cruised along railway, gave concerts in the territories liberated from the Nazis. Concerts were held in Bryansk, Orel, Kaluga and other cities. In addition, they gave more than 70 concerts for the railway workers of the Moscow-Kyiv line and the Czechoslovak military brigade, located on the territory of the USSR.

During the war, a musical lecture hall was opened at the Philharmonic, which was attended mainly by residents of the rubber plant districts, the Krasny Pereval and Krasny Perekop factories. Students came from some rural areas. Then it was transformed into a university of musical culture.

At the beginning of 1945, the All-Union Review of amateur choirs and vocalists was announced. The Yaroslavl teams were also actively preparing for it. In factories and plants, new choirs and vocal groups were created. The song and dance ensemble of the Krasny Perekop factory, the folk choir of the automobile plant, the Tutaev factory Tulma, the Gavrilov-Yamsky choir of veterans of the Dawn of Socialism factory were especially actively preparing for the show.

notable role in musical life the regions were played by teams evacuated from the occupied territories. For example, in 1942, Estonian musical groups were doing a lot of concert work. These were an ensemble of song and dance, a jazz orchestra, a symphony orchestra, which worked in hospitals and military units.

Since November 1942, artistic musical ensembles of Lithuania have been working in Pereslavl: a symphony orchestra, a jazz orchestra, a dance group, and a choir. These groups performed with special programs not only in Pereslavl, but also in other cities of the region.

Danilov housed the Belarusian song and dance ensemble, created in the city of Bialystok from amateur art circles. His repertoire included Belarusian songs, songs of the peoples of the USSR, songs about the Great Patriotic War. In January 1944, the team gave a big concert dedicated to the 25th anniversary of the Byelorussian SSR.

artistic life

During the war years, many artists went to the front. In the active army were A. A. Shkoropad, N. I. Kirsanov. P. S. Oparin and I. A. Zhukov died at the front.

But at the same time, art exhibitions were regularly held in the region, the purpose of which was to show military events, the heroism of Soviet soldiers on the fronts and in partisan detachments.

In 1942, on the occasion of the 25th anniversary of the October Revolution, an exhibition of paintings by Yaroslavl artists dedicated to the Great Patriotic War was opened in Yaroslavl. The works of artists Grishin "Under direct fire", "Came" were presented; Druzhinin "The defeat of the German convoy by partisans"; Shindykov "Partisans in ambush"; Efremov "From the battlefield". The exhibition was attended by Kostroma, Leningrad, Estonian artists. The works of the Leningrad graphic artists Yudovich and Heeger, the watercolourist Svetlitsky, and the sculptors Kozlovsky and Voinova stood out at the exhibition.

In 1943, the Yaroslavl branch of the Union of Artists opened an exhibition dedicated to the Great Patriotic War. Artists from different cities also participated in it. The Leningrad graphic artist Yudovich presented a series of engravings on the theme "Leningrad in the days of the blockade" for the exhibition. Kostroma artist Shlein - a series of landscapes of the city during the war and portraits of heroes. (Until 1944, the territory of the present Kostroma region was part of the Yaroslavl region.) The direct participant in the war, the artist Druzhinin, also participated in the exhibition with the painting “To the Front Line”.

The Yaroslavl artist Shindykov presented his works in 1944 at an exhibition in the Tretyakov Gallery. For the painting "Behind Enemy Lines" he was awarded the Certificate of Honor of the Komsomol Central Committee.

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With the beginning of the Great Patriotic War, artists take an active part in the fight against the enemy. Some of them went to fight at the front, others - in partisan detachments and the people's militia. Between battles, they managed to produce newspapers, posters, cartoons. In the rear, the artists were propagandists, organized exhibitions, they turned art into a weapon against the enemy - no less dangerous than the real thing. During the war, many exhibitions were organized, among them two all-Union exhibitions ("The Great Patriotic War" and "The Heroic Front and Rear") and 12 republican ones. In the besieged Leningrad, the artists published a magazine of lithographic prints "Fighting Pencil" and, together with all Leningraders, showed the whole world their unparalleled courage and fortitude.

As in the years of the revolution, the first place in the graphics of the war years was occupied by the poster. Moreover, two stages in its development are clearly traced. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the poster of the Kukryniksy appeared “We will mercilessly defeat and destroy the enemy!”. He unleashed popular hatred on the invading enemy, demanded retribution, called for the defense of the Motherland. The main idea was to repulse the enemy, and it was expressed in a stern, concise manner. pictorial language regardless of creativity. Domestic traditions were widely used. So, "Motherland is calling!" I. Toidze (1941) with allegorical female figure against the background of bayonets, holding the text of the military oath in her hands, both in composition and in color (red, black, white) echoes Moor’s “Have you signed up as a volunteer?”. The poster of V.G. sounded like a call for revenge. Koretsky "Warrior of the Red Army, save!" (1942), which also uses the traditions of the revolutionary years - photomontage, as A. Rodchenko did. There was not only not a single fighter, but, it seems, not a single person in general, who would not have been pierced by the tragic power of this image of a woman, in horror, clutching a child to herself, at whom a bayonet with a swastika is pointed. The poster has become, as it were, an oath of every fighter. Often, artists resorted to the images of our heroic ancestors (Kukryniksy “We fight great, prick desperately, Suvorov’s grandchildren, Chapaev’s children”, 1941). "Free", "Revenge!" - images of children and the elderly cry out from the poster sheets.

At the second stage, after a turning point in the course of the war, both the mood and the image of the poster change. B.C. Ivanov depicts a soldier against the backdrop of a crossing across the Dnieper, drinking water from a helmet: “We drink the water of our native Dnieper. We will drink from Prut, Neman and Bug!” (1943). L. Golovanov's poster "Let's get to Berlin!" is filled with optimism and folk humor. (1944), whose image of the hero is close to Vasily Terkin.

From the first days of the war, following the example of ROSTA Windows, TASS Windows began to appear. Created by hand - by applying paint to paper through a stencil - in a bright, catchy color scheme they instantly responded to all major military and political events. Of the masters of the older generation, M. Cheremnykh, B. Efimov, Kukryniksy, who also worked a lot in magazine and newspaper caricature, collaborated at TASS Windows. The whole world went around their famous caricature “I lost my ringlet ... (and there are 22 divisions in the ringlet)” - on the defeat of the Germans near Stalingrad (1943). The political department of the Western Front issued a special magazine, Front Humor. Until 1942, its artistic director was N. Radlov, and from 1942 until the end of the war, V. Goryaev. V. Lebedev made drawings for S.Ya. Marshak.

Like the Leningrad "Combat Pencil", Georgian artists began to publish a series of small propaganda sheets called "Bayonet and Feather", in which the literary text played an important role. Among the artists involved in this edition were L.D. Gudiashvili, among the poets - Tabidze. Similar propaganda leaflets were performed by Ukrainian artists and thrown into the occupied territory. Georgian and Ukrainian propaganda graphics are mostly heroic and dramatic; Azerbaijani artists worked in a satirical vein according to the tradition that had developed even before the war.

During the war years, significant works of easel graphics appeared, and the variety of impressions gave rise to a variety of forms. These are quick, documentary-accurate front-line sketches, different in technique, style and artistic level. These are portrait drawings of fighters, partisans, sailors, nurses, commanders - the richest chronicle of the war, later partially translated into engraving (lithographs by Vereisky, engravings by S. Kobuladze, watercolors by A. Fonvizin, drawings by M. Saryan, etc.). These are the landscapes of the war, among which special place occupy images of besieged Leningrad (gouaches by Y. Nikolaev and M. Platunov, watercolors and pastels by E. Belukha and S. Boym, etc.). Finally, these are a whole series of graphic sheets on one topic. This is how the graphic series by D. Shmarinov “We won’t forget, we won’t forgive!” appeared. (charcoal, black watercolor, 1942), which arose from sketches that he made in the newly liberated cities and villages, but was finally completed after the war: conflagrations, ashes, weeping over the bodies of the murdered mother and widow - everything fused into a tragic artistic image.

Quite different in spirit from L.V. Soyfertis "Sevastopol" (1941-1942), "Crimea" (1942-1943), "Caucasus" (1943-1944). Soyfertis does not depict the tragic aspects of the war, but only the everyday life of the war, which he, a Black Sea sailor, was well acquainted with. Executed in black watercolor, Soyfertis' graceful drawings are full of humor and sharp powers of observation. Made truthfully, but in a different vein than Shmarinov's, they glorify heroism Soviet people. Sheet "Once!" (1941), for example, depicts a sailor leaning on a poster pedestal, who, in a short respite between battles, is deftly polished by two boys at once.

"Leningrad in the days of blockade and liberation" - this is the name of a series of more than three dozen autolithographs by A.F. Pakhomov (1908–1973), which he started in 1941 and completed after the war. Pakhomov himself survived the blockade, and his sheets are full of tragic feelings, but also admiration for the courage and will of his compatriots. The whole world went around his sheet “On the Neva for Water”, depicting wrapped girls with huge eyes, extracting water from the Neva with their last efforts.

The historical theme occupies a special place in military graphics. It reveals our past, the life of our ancestors (engravings by V. Favorsky, A. Goncharov, I. Bilibin). Architectural landscapes of the past are also presented.

The painting of the war years also had its own stages. At the beginning of the war - basically fixing what he saw, not pretending to generalize, almost hastily "picturesque sketch". Artists painted based on living impressions, and there was no shortage of them. The plans were not always successful, the paintings lacked depth in the disclosure of the topic, the power of generalization. But there has always been great sincerity, passion, admiration for people who steadfastly endure inhuman trials, directness and honesty of artistic vision, a desire to be extremely conscientious and accurate.

The speed of a sharp-sighted sketch, sketch, did not rule out the seriousness and depth of thought. Sketches by artists who found themselves in besieged Leningrad - V. Pakulin, N. Rutkovsky, V. Raevskaya, N. Timkov and others - are priceless pictorial documents to this day (Y. Nikolaev "For Bread", 1943; V. Pakulin "Embankment of the Neva. Winter", 1942). During the Great Patriotic War, many young artists came to the fore, they themselves were participants in the battles near Moscow, the great battle for Stalingrad, they crossed the Vistula and the Elbe and stormed Berlin.

Of course, the portrait develops first of all, because the artists were shocked by the courage, moral loftiness and nobility of the spirit of our people. At first, these were extremely modest portraits, only fixing the features of a man of a wartime period - Belarusian partisans F. Modorov and Red Army soldiers V. Yakovlev, portraits of those who fought for victory over fascism in the rear, a whole series of self-portraits. Ordinary people, forced to take up arms, who showed the best human qualities in this struggle, artists sought to capture. Later, ceremonial, solemn, sometimes even pathetic images appeared, such as, for example, the portrait of Marshal G.K. Zhukov by P. Korin (1945).

P. Konchalovsky worked a lot in this genre during the war years. He creates optimistic, life-loving characters in his usual decorative, color-rich manner. But in the Self-Portrait of 1943, although it was executed in accordance with the artist’s usual techniques, I would like to note the special insight of the look on the face, full of heavy reflection, as if corresponding to the most difficult time that our country is going through. A remarkably subtle portrait of the famous art critic N.N. Punina writes to V.M. Oreshnikov (1944).

The portraits of the intelligentsia painted by M. Saryan during the war years are of particular significance, monumentality of the image (academician I.A. Orbeli, 1943; composer A.I. Khachaturyan, 1944; poet and translator M. Lozinsky, 1944; writer M. Shaginyan, 1944, and etc.).

During the war years, Saryan was also engaged in landscape and still life. It should be noted one special still life, called by him “To the Armenian soldiers, participants in the Patriotic War” (1945), depicting the fruits and flowers of Armenia: as a gift and gratitude to those who are fighting and victorious, and as a memory of those who died far from their homeland, and as a hope for a future peaceful life .

In 1941–1945 both domestic and landscape genres are developing, but they are always connected in one way or another with the war. A prominent place in the formation of both of them during the war years belongs to A. Plastov. Both genres are, as it were, combined in his painting “The Fascist Has Flew” (1942): young birches, gray skies, distant fields familiar to each of us. Against the background of this peaceful autumn landscape, the atrocity of the fascist pilot who killed the shepherd boy and the cows he pastured seems even more monstrous. They say that the audience froze in front of this picture when it was exhibited at the exhibition "The Great Patriotic War" in 1942. Plastov's brushes also belong to very bright, soulful landscapes of our homeland. In the last year of the war, A. Plastov painted a beautiful picture "Harvest" (1945, State Tretyakov Gallery): a serious and tired old man and children dine at the harvested sheaves - those who remained in the rear and who fed the fighters. Plastov's painting is juicy, the manner of painting is wide, generous, in the landscape there is no that mournful, aching note that sounds in the previous picture.

The oldest masters (V. Baksheev, V. Byalynitsky-Birulya, N. Krymov, A. Kuprin, I. Grabar, P. Petrovichev and others) and younger ones, like G. Nissky, also worked in the genre of landscape during the war years. who created several expressive, very expressive canvases. Among them is “To defend Moscow. Leningrad highway" (1942). Exhibitions of landscape painters during the war speak of their understanding of the landscape in a new way, belonging to the harsh wartime. So, these years have preserved almost documentary landscapes, which over time have become historical genre, as "Parade on Red Square on November 7, 1941" by K.F. Yuon (1942), which captured that day, memorable for all Soviet people, when the soldiers went into battle straight from the snow-covered square - and almost all died.

Laconism, simplicity of visual means, but also unfortunate straightforwardness distinguish the plot paintings of 1941–1942. Characteristic in this regard is the painting by Sergei Gerasimov "Mother of the Partisan" (1943), which was highly appreciated by contemporaries rather due to the relevance of the topic than for artistic merit. Gerasimov develops the "conflict line" following Ioganson, but does it even more illustratively.

The female figure is read as a bright spot on a dark background, while the figure of the fascist interrogating her appears as a dark spot on a light one, and this, according to the author, should sound symbolic: a woman, as if grown into her native land, but also like a monument towering above the smoke of a conflagration, embodies the power of people's pain, suffering and invincibility. This is expressed quite clearly, succinctly, but also illustratively "literary". The figure of the tortured son seems completely superfluous. And so the idea is clear and extremely understandable.

Not devoid of a certain posterity, so alien to the art of painting, and the picture of A.A. Deineka "Defense of Sevastopol" (1942), created in the days when there was "a battle ... holy and right, a mortal battle not for the sake of glory, for the sake of life on earth." The theme itself is the reason for the huge emotional impact of the picture. Although the viewer knows that Sevastopol was abandoned by our troops, but these sailors fighting to the death are perceived as winners. In the end, they became them. Deineka conveys the terrible tension of the battle not with illusory details, the realities of the situation, but with certain, purely pictorial techniques, hyperbolization. Cutting off a number of bayonets with the edge of the picture, the artist creates the impression of an avalanche of enemy troops, although he depicts only a small group of fascists rushing to the shore, the movements of the figures are deliberately swift, the angles are sharp. The fierceness of the battle of the “holy and right” is conveyed primarily by color. The sailors' blouses are dazzlingly white, their figures are readable against a dark background, the figures of the Germans are dark against a light background. It is rightly noted that the faces of the sailors are open to the viewer, we see their expression, as, for example, the face of a sailor in the foreground, preparing to throw a bunch of grenades at the enemy. His figure is a symbol of a fierce battle. We do not see the faces of the enemies. With one coloristic device, the picture does not have that straightforwardness that is in The Mother of the Partisan.

Not only color, but also the composition is built on contrast. In the background, a mortally wounded sailor is contrasted with the figure of a murdered German. The third plan is a bayonet battle, where the fighters met in the last deadly fight. The heroic content of Deinek reveals through the main thing, ignoring minor details. Poster-literary, but also intensely expressive artistic language creates an image of a fierce battle.

Deineka belongs and the main role in the affirmation of a new, military landscape, marked by a sharp sense of time ("Outskirts of Moscow. November 1941"). The named landscape, depicting deserted Moscow streets, blocked by gouges and steel "hedgehogs", conveys the unforgettable atmosphere of those terrible days when the enemy rushed to Moscow and was at its doorstep.

It is significant that the spirit of war, permeated with one thought - about war - is sometimes conveyed by artists in the nature of a simple genre painting. So, B. Nemensky depicted a woman sitting over sleeping soldiers, and called his work "Mother" (1945): she can be a mother guarding the sleep of her own sons-soldiers, but this is also a generalized image of all the mothers of those soldiers who fight with the enemy.

Nemensky was one of the first who, in those difficult years for art, resolutely abandoned pathetic glorification. Through the ordinary, and not the exceptional, he depicts the daily feat of the people in this most bloody of all wars that have been on earth. In a programmatic, in fact, work, the innovative role of the artist is expressed.

In the last years of the war, one of their best paintings was created by the Kukryniksy, turning to the image of antiquity - Sophia of Novgorod as a symbol of the invincibility of the Russian land ("The Flight of the Nazis from Novgorod", 1944-1946). Against the backdrop of the majestic facade of the cathedral, wounded by shells, the bustling arsonists seem pitiful, and a pile of mangled fragments of the monument "Millennium of Russia" calls for revenge. The artistic shortcomings of this picture are redeemed by its sincerity and genuine drama.

In historical painting, images of the heroes of the glorious past of our Motherland appear, inspiring Soviet soldiers to fight the enemy, reminding them of the inevitability of death, the inglorious end of the conquerors. So, the central part of the triptych by P. Korin is occupied by the figure of Alexander Nevsky, full-length, in armor, with a sword in his hand against the backdrop of Volkhov, St. Sophia Cathedral and a banner depicting the “Savior Not Made by Hands” (1942–1943, Tretyakov Gallery). Later, the artist will say: “I painted it during the harsh years of the war, I wrote the unconquered proud spirit of our people, which “at the hour of judgment of its existence” rose to its full gigantic height.” The main thing for Korin is not the archaeological authenticity of historical details, but the disclosure of the hero's spiritual essence, his determination, which knows no obstacles on the way to victory. The right and left parts of the triptych - "Northern Ballad" and "An Old Tale" - are pictures of a courageous and mentally stable Russian man. But they are clearly weaker than the central part, it is rightly noted that the well-known "encryption" of the plot also harms them. The pictorial-plastic solution is typical for Korin: the forms are extremely generalized, the plasticity of the figure is rigid, the contour is graphic, the color is built on local, contrasting combinations.

In the historical genre, the oldest artist E.E. Lancer. N. Ulyanov paints a picture about the war of 1812 ("Lauriston at Kutuzov's headquarters", 1945). But in the historical genre of the war years, especially towards the end of the war, just like in others, changes are outlined: the paintings become more complex, gravitate towards multi-figure, so to speak, “developed dramaturgy”. It is worth comparing in this sense the already mentioned laconic, majestic composition of "Alexander Nevsky" with the painting by A. P. Bubnov (1908-1964) "Morning on the Kulikovo Field" (1943-1947) or with the painting by M. Avilov "Duel of Peresvet with Chelubey" (1943) in order to understand that “nationality” in a historical canvas is by no means achieved by the number of persons depicted.

Monumental painting, of course, had few opportunities during the war years. But even at this time of the most difficult trials, the art of "eternal materials", frescoes and mosaics, continued to exist and develop. It is significant that in besieged Leningrad in the mosaic workshop of the Academy of Arts, mosaics for the subway are being assembled using Deineka's cardboards.

Despite more difficult conditions work of a sculptor in comparison with a painter and a graphic artist (special tools are needed for work, more expensive materials, etc.), Soviet sculptors actively worked from the first days of the war, participated in traveling exhibitions in 1941 and in the exhibitions "The Great Patriotic War "(1942)," The Heroic Front and Rear "(1944), etc.

In the sculpture of the war years, even more clearly than in painting, the priority of the portrait genre is felt. Sculptors strive, first of all, to capture the image of a war hero, to make it truthful, devoid of external effect. The face of the pilot, Colonel I.L., is not at all “heroically inspired”. Khizhnyak, who saved a train of ammunition under heavy fire, or the scarred face of Colonel B.A. Yusupov, who survived the duel with enemy tanks, in the busts of V. Mukhina (both - plaster, 1942). “Our Patriotic War,” wrote V.I. Mukhina gave birth to so many new heroes, gave an example of such a bright and extraordinary heroism that the creation of a heroic portrait cannot but captivate the artist. The Russian bogatyrs of our ancient epic are resurrecting again in the Soviet man, and epic images live with him and among us...”

The composition of her portraits is simple and clear, as well as clear plastic modeling. The main thing in the face is accentuated by a rich play of light and shade. So, the shadows thicken in the lower part of Khizhnyak's face, on the cheeks, on the cheekbones, enhancing the concentration, severity and integrity of the image. No extra details, even the image of a military order is placed on a stand. A more dramatic description is given in the portrait of N.N. Burdenko (gypsum, 1943), it is built on the contrast of inner emotionality and the iron will that restrains it. These portraits by Mukhina happily stand out for their simplicity and sincerity against the backdrop of future falsely heroic pompous decisions characteristic of so many masters, especially of the post-war period. But Mukhina herself also has such works in the same wartime, in which she seems to be trying to generalize her observations, to create a certain collective image of many patriots who fought against the Nazis, but at the same time falls into sugary idealization, as, for example, in “Partisan (gypsum, 1942), this “image of anger and intransigence towards the enemy”, “Russian Nike”, as she was, nevertheless, called in those years.

Mukhina's experiments with various modern materials, which she combines in one work, using their various textures and, most importantly, different colors (portrait of X. Jackson, aluminum, colored copper, etc., 1945). The artist, as it were, rediscovered the possibilities of using color in sculpture, although they have been known to mankind since ancient times. Also important are Mukhina's experiments in glass, her use of glass in sculpture.

In a different vein, in different ways, with a completely different approach to the model, S. Lebedeva worked during the war years, creating no less significant images. Her analytical mindset, thoughtfulness allow her to convey the tension of the model’s inner life, high intelligence, shades of state of mind, as in the bust of A.T. Tvardovsky, war correspondent in those years (gypsum, 1943). With a slight tilt of the head, opposed to the turn of the shoulders in movement, the sculptor skillfully, but not straightforwardly, accentuates the strength of his character, which allowed him to defend the position of a poet and a citizen until the end of his days.

In the sculpture of the so-called small forms, figurines, which developed mainly after the war, Lebedeva leaves unforgettably sharp, poetic images ("Seated Tatlin", plaster, 1943-1944).

Sculptors from all republics and national schools(A. Sargsyan - in Armenia, Y. Nikoladze, N. Kandelaki - in Georgia, etc.). Among these works, the image of N.F. Gastello by the Belarusian sculptor A. Bembel (bronze, 1943): a triangle of a half-figure with a hand thrown up on a stand block - in this composition, the artist captured the tragic and majestic moment of throwing a burning car into an enemy echelon. The oldest sculptor V. Lishev, a student of Matveev V. Isaeva, works in besieged Leningrad.

Over time, as in painting, in a sculptural portrait, the ideal, sublimely heroic, often frankly idealized, takes precedence over the individually concrete. In this vein, N.V. makes portraits of the heroes of the Soviet Union. Tomsky, an even more spectacularly romantic beginning is emphasized in the portraits of E.V. Vuchetich, it is enough to compare the portraits of General of the Army I.D. Chernyakhovsky by both masters.

During the war, it was not possible to build monuments. But it is during the days of the war that many sculptors have new ideas and projects. So, Mukhina is working on a monument to P.I. Tchaikovsky (placed near the Moscow Conservatory already in 1954, architect A Zavarzin). Back in 1943, it was conceived and immediately after the end of the war, in 1946, in Vyazma, a monument to Major General M.G. Efremov, who died here in the first year of the war. The composition of the monument consists of five figures: in the center of it is General Efremov, who continues to fight mortally wounded, when he and the surviving soldiers were surrounded on all sides by enemies. In this image, the sculptor did not avoid elements of narrative and illustrativeness, but truthfulness, sincerity, even passion in conveying the atmosphere last fight, in which people show so much courage, determine the artistic significance of this monument.

After the war (1945–1949), Vuchetich executed the famous 13-meter bronze figure of a soldier with a child on one arm and with a lowered sword in the other for the grandiose memorial to the “Soviet Liberator Warrior” in Treptow Park in Berlin (architect Ya.B. Belopolsky and others). The spatial architectural and sculptural composition in the park layout includes two alleys and parterre with burials, ending with a mound with a mausoleum. At the beginning of the alleys leading to the mound, there is a figure of the Motherland made of gray granite on a pedestal of polished red granite. Banners with bronze figures of kneeling warriors on propylaea are made of the same material. The mausoleum is crowned with the figure of a warrior with a child in his arms - the central figure of the memorial. The appearance of such a monument immediately after the war was natural: it reflected the role of our state in the victory over fascism.

In 1941-1945, during the years of the great battle against fascism, artists created many works in which they expressed the whole tragedy of the war and glorified the feat of the victorious people.

The role of art during the Great Patriotic War

It has been 66 years since the volleys of the Great Patriotic War died down, and it continues to live in the memory of the people, in the hearts of millions of people, in art and songwriting.

The bells of memory are ringing. They hum over the quiet fields of Belarus, over Khatyn and Brest, Babi Yar and Kyiv, over small villages and big cities- everywhere where the forged boot of a fascist stepped. And in this rumble we hear a requiem and a hymn. A requiem for the thousands of dead, tortured, burned alive, and a hymn in honor of those who survived, survived in the terrible conditions of the war and won. And a huge role in this victory rightfully belongs to Soviet culture. Literary and artistic figures felt themselves mobilized and called to serve the people with their art from the very first days of the war. Art strengthened and tempered the spirit of the people, inspired it to exploits, supported in it confidence in victory, it itself was fighting. Thousands of cultural figures stood up and defended the independence of the Motherland with weapons in their hands.

The literature of the Great Patriotic War began to take shape immediately after June 22, 1941. Therefore, the main task of literature was to help the party organize, direct, make purposeful and irresistible the fighting spirit of the people, strengthen their faith in their own strength, their readiness to fight for their Fatherland. In the first days of the war, about a thousand writers went to the front as fighters and commanders, political workers and correspondents. The famous story of M. Sholokhov “The Science of Hate” about Lieutenant Gerasimov is also journalistic in its orientation. The writer shows two forces that help Gerasimov overcome terrible trials - hatred for the invaders and a clear understanding of the humanistic ideals of the Soviet people. Listen to an excerpt from this story…”

“... And they learned to fight for real, and to hate and love. On such a touchstone as war, all feelings are perfectly honed. It would seem that love and hate cannot be put side by side; you know how they say: “You can’t harness a horse and a quivering doe into one cart,” but here they are harnessed and pull great! I deeply hate the fascists for everything they have done to my homeland and to me personally, and at the same time I love my people with all my heart and do not want them to have to suffer under the fascist yoke. This is what makes me, and all of us, fight with such bitterness, it is these two feelings, embodied in action, that will lead to our victory. And if the love for the Motherland is kept in our hearts and will be kept as long as these hearts beat, then we always carry hatred for the enemy on the tips of our bayonets. Sorry if this is intricately said, but I think so, - Lieutenant Gerasimov finished and for the first time during our acquaintance smiled with a simple and sweet, childish smile.

On the very first day of the war, writers and poets of Moscow gathered for a rally. Alexander Fadeev said: “Many of us will fight with weapons in our hands, many will fight with a pen”. Poetry put on a military overcoat and stepped into battle. Already on the third day of the war, the song “Holy War” to the verses of Lebedev-Kumach sounded all over the country, as a call.

“On the same day, she sounded on the radio performed by famous actor Maly Theater Alexander Ostuzhev. Published simultaneously in Krasnaya Zvezda and Izvestia, the poems literally shocked everyone, stunned everyone with their angry power and amazing ability to express what was in the soul of everyone. The line in the title of the poem, “Holy War,” hit my heart. Yes, it is sacred! Under the same strong impression, the head of the Red Army Song and Dance Ensemble A.V. created the music for this song. Alexandrov, almost as swiftly, literally illuminated by the musical theme instantly sounded in him. On June 27, the Red Army soldiers sang “Holy War” for the first time at the Belorussky railway station to the soldiers going to the front. And those who listened, leaving for the front, seeing off relatives and friends, and those who performed, could not hold back their tears. The poet called his song "an excited speech", and this speech echoed in the hearts of millions of compatriots like an anthem, like an alarm. The song became a moment in history, stood together with the soldiers in the ranks, became itself.

Message.

“During the war years, mass song was the most widespread genre of Soviet music. She was one of the first to reflect the events of the war and became its musical chronicle. 4 years of war became a significant period, which approved a new song style, characterized by the interpenetration of lyrics and heroics. The song was a powerful spiritual weapon at the front and in the rear. The themes, images and content of the songs embodied the struggle of the Soviet people against the Nazi invaders, the emotional atmosphere of wartime. Many songs were written, performed, felt and accepted: “The Treasured Stone” by Mokrousov and Zharov, “Evening on the Road” by Solovyov-Sedov and Churkin, “In the Dugout” by Listov and Surkov and others. They were sung in the rear and at the front, on the battlefield and in short moments of rest, in dugouts and partisan detachments. They were performed by concert teams and individual singers. Outstanding performers were: Lidia Ruslanova, Leonid Utesov, Claudia Shulzhenko…”

And each of the songs had its own destiny

Student messages

Why importance in raising morale did music have?

What WWII songs do you know?

Students listen to songs and tell the story of their creation.

1. "Holy War"
2. "Dark night"
3. "In the dugout"
Symphony 4.7 by D. Shostakovich
5. "Sternly Bryansk Forest Noisy"

During the war, many exhibitions were organized, among them two all-Union exhibitions ("The Great Patriotic War" and "The Heroic Front and Rear") and 12 republican ones. In the besieged Leningrad, the artists published a magazine of lithographic prints "Fighting Pencil" and, together with all Leningraders, showed the whole world their unparalleled courage and fortitude.

As in the years of the revolution, the first place in the graphics of the war years was occupied by the poster. There are two stages in its development. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the poster of the Kukryniksy appeared “We will mercilessly defeat and destroy the enemy!”. He unleashed popular hatred on the invading enemy, demanded retribution, called for the defense of the Motherland. The main idea was to repulse the enemy, and it was expressed in a harsh, laconic pictorial language, regardless of creative individuals.

Domestic traditions were widely used. So, "Motherland is calling!" I. Toidze (1941) with an allegorical female figure against the background of bayonets, holding the text of the military oath in her hands.

The poster has become, as it were, an oath of every fighter. Often, artists resorted to the images of our heroic ancestors.

At the second stage, after a turning point in the course of the war, both the image of the poster and the mood change to optimistic and even humorous. B.C. Ivanov depicts a soldier against the backdrop of a crossing over the Dnieper, drinking water from a helmet: “We drink the water of our native Dnieper. We will drink from Prut, Neman and Bug!” (1943).

During the war years, significant works of easel graphics appeared. These are quick, documentary-accurate front-line sketches, different in technique, style and artistic level. These are portrait drawings of fighters, partisans, sailors, nurses, commanders - the richest chronicle of the war, later partially translated into engraving. These are landscapes of the war, among which images of besieged Leningrad occupy a special place. This is how the graphic series by D. Shmarinov “We won’t forget, we won’t forgive!” appeared. (charcoal, black watercolor, 1942), which arose from sketches that he made in the newly liberated cities and villages, but was finally completed after the war: conflagrations, ashes, weeping over the bodies of the murdered mother and widow - everything fused into a tragic artistic image.

During the Great Patriotic War, many young artists came to the fore, they themselves were participants in the battles near Moscow, the great battle for Stalingrad, they crossed the Vistula and the Elbe and stormed Berlin.

Of course, the portrait develops first of all, because the artists were shocked by the courage, moral loftiness and nobility of the spirit of our people. At first, these were extremely modest portraits, only fixing the features of a man of the wartime - Belarusian partisans F. Modorov and Red Army soldiers V. Yakovlev, portraits of those who fought for victory over fascism in the rear, a whole series of self-portraits. Ordinary people, forced to take up arms, who showed the best human qualities in this struggle, artists sought to capture. Later, ceremonial, solemn, sometimes even pathetic images appeared, such as, for example, the portrait of Marshal G.K. Zhukov by P. Korin (1945).

In 1941-1945. both domestic and landscape genres are developing, but they are always connected in one way or another with the war. A prominent place in the formation of both of them during the war years belongs to A. Plastov. Both genres are, as it were, combined in his painting The Fascist Has Flew (1942).

In the genre of landscape during the war years, work and the oldest masters(V. Baksheev, V. Byalynitsky-Birulya, N. Krymov, A. Kuprin, I. Grabar, P. Petrovichev and others), and younger ones, like G. Nissky, who created several expressive, very expressive canvases.

Exhibitions of landscape painters during the war speak of their understanding of the landscape in a new way, belonging to the harsh wartime. So, these years also preserved almost documentary landscapes, which eventually became a historical genre, such as “Parade on Red Square on November 7, 1941” by K.F. Yuon (1942), which captured that memorable day for all Soviet people, when the fighters went into battle straight from the snow-covered square - and almost all died.

Through the ordinary, and not the exceptional, he depicts the daily feat of the people in this most bloody of all wars that have been on earth.

By the end of the war, changes are outlined, the paintings become more complex, tend to be multi-figured, so to speak, “developed dramaturgy”.

In 1941-1945, during the years of the great battle against fascism, artists created many works in which they expressed the whole tragedy of the war and glorified the feat of the victorious people.

War in painting

Military painting 1941-1945

The most difficult test for the country was the Second World War with Nazi Germany. When the Second World War broke out, the history of world art experienced extraordinary events. The social movements of those years cause revolutionary trends in artistic creativity. National movements stimulate new ideas and art forms. A highly developed artistic culture in these years is faced with elementary ideological and crude populism. During this period, the government and political parties more and more persistently show their interest in art.

Increasingly, this interest was expressed in cultural policies, in the spirit of which the rights to the national and classical heritage are proclaimed and modern art movements are given an ideological, political qualification, from which practical implications. The painters of that time tried to reflect the intensity of the fierce struggle of the people through the image of Russian nature, for which the presence of alien invaders was alien, many of the events of the war were revealed. The chronicle of mournful losses was forever captured by Russian painting. The events of the Great Patriotic War will never be erased in human memory. To her more than once to address the artists. The deepest drama experienced by mankind over the past decades of the 20th century - the invasion of fascism and the Second World War - has placed historical and artistic processes in the most direct connection and dependence on it. The emigration of architects and artists from countries captured by fascism has made significant changes in demographics artistic culture peace. The escape from fascism, its rejection by the artists, who closed themselves in their inner world, preserving the images and ideals of their work, was an act of spiritual resistance to fascist aggression.

Capital works of easel art are also created in the USSR. In the countries captured by fascism, the art of the Resistance is formed - an artistic movement through political effectiveness and developing its own properties of content and style. This art contains a sharp response to the tragedy of war, embodies the nightmares of fascism in allegorical and concrete event compositions.

Arkady Alexandrovich Plastov

Plastov A.A. was born in 1893 in the village of Rest of the Simbirsk province. His best paintings have become classics of Russian art of the 20th century. Plastov is a great artist of peasant Russia. She looks at us from his paintings and portraits and will remain in eternity as Plastov depicted her.

He was the son of a village bookman and the grandson of a local icon painter. He graduated from a religious school and a seminary. From his youth he dreamed of becoming a painter. In 1914, he managed to enter the MUZhVZ, but he was accepted only to the sculpture department. At the same time he studied painting. In 1917-1925. Plastov lived in his native village; as "competent", engaged in various public affairs. Only in the second half of the 1920s. he was able to return to professional artistic work.

In 1931, Plastov A.A. the house burned down, almost everything created by that time perished. The artist is almost forty years old, and he was practically in the position of a beginner. But forty more years of tireless work - and the number of his works approached 10,000. Some portraits - several hundred. Mostly these are portraits of fellow villagers. The artist worked a lot and fruitfully in the 1930s, but he created his first masterpieces during the war years.

Arkady Alexandrovich is a natural realist. Modernist pride, the search for something completely new and unprecedented were completely alien to him. He lived in the world and admired its beauty. Like many Russian realist artists, Plastov is convinced that the main thing for an artist is to see this beauty and be extremely sincere. No need to write beautifully, you need to write the truth, and it will be more beautiful than any fantasy. Every shade, every line in his paintings, the artist repeatedly checked in his work from nature.

Innocence, the complete absence of what is called "manner", distinguishes Plastov even from those wonderful masters, the heir of the pictorial principles of which he was - A. E. Arkhipov, F. A. Malyavin, K. A. Korovin. Plastov A.A. recognizes himself as the successor of the entire national artistic tradition. In the colors of Russian nature, he sees the enchanting colors of our old icons. These colors live in his paintings: in the gold of grain fields, in the greenery of grass, in the red, pink and blue colors of peasant clothes. Russian peasants take the place of the holy ascetics, whose work is both hard and holy, whose life for Plastov is the embodiment of the harmony of nature and man.

Plastov's works reflect the trials of the Soviet people during the Great Patriotic War ("Fascist flew by", 1942), the patriotic work of women, the elderly and children on collective farm fields during the war years ("Harvest", "Haymaking", 1945, both paintings were awarded in 1946 Stalin Prize). The painting "Haymaking" sounded like a colorful hymn to the peaceful life that has come, the joy of the people, who with honor and glory came out of the hard trials of the war. In the painting "Harvest" - the theme of the war is hidden, it is in the absence of fathers and older brothers of children sitting next to an elderly peasant. Her triumph is in the radiance of the sun's rays, the riot of herbs and flowers, the breadth of the Russian landscape, the simple and eternal joy of labor in her native land.

During the war, the artist lived and worked in the village of Prislonikha. Plastov's "Fascist flew by" (1942) is one of the most disturbing and unforgettable works of art. Russian autumn, with its golden headdress of falling leaves, withering greenery in the fields and the figure of a dead shepherd boy in the foreground, bears traces of senseless military cruelty. At the horizon, the silhouette of a flying German killer plane is barely visible.

And subsequently, in his best works, Plastov kept the achieved level: "Spring" (1952), "Youth" (1953-54), "Spring" (1954), "Summer" (1959-60), "Tractor Drivers' Dinner" (1951) . Among the works of Plastov, the painting "Spring" (1951) also stands out. A poetic feeling of life emanates from this canvas. A young girl, running out of a village bathhouse, carefully dresses a little girl. The artist skillfully conveys the beauty of a young naked female body, the transparency of the still icy air. Man and nature appear here inextricably linked.

It is no coincidence that there is something generalizing in the titles of many of his paintings. Arkady Alexandrovich was given a rare event ability real life, often the most ordinary, to turn into an ideal image, as if to open their innermost, true meaning and meaning in common system devices of the universe. Therefore, he, a modern Russian realist, so naturally continued the classical artistic tradition.

The happiness of life, the inexplicably sweet feeling of the Motherland literally pour over us from Plastov's paintings. But ... that Russia that Plastov loved so much, of which he was a part, was already fading into the past before his eyes. "From the Past" (1969-70) - this is the name of one of the last major works of the artist. Peasant family in the field, during short rest. Everything is so naturally simple and so significant. Peasant Holy Family. The world of harmony and happiness. A piece of heaven on earth.

Plastov's illustrations for the works of Russian poets and prose writers are also interesting. They are very close in their worldview to his paintings. The brightness and emotionality of the concept are distinguished by Plastov's works in the field of illustration ("Frost, Red Nose" by N. A. Nekrasov, 1948; "The Captain's Daughter" by A. S. Pushkin, 1948-1949; works by L. N. Tolstoy, 1953; story A P. Chekhov, 1954, etc.).

Canvas "Collective farm holiday". According to a number of features, this work fits the definition of the style of socialist realism, proclaimed the main one for Soviet art. True, it should be clarified that the mentioned picture was included in the realistic method with reservations, since it is too bright and defiantly folk. The author overloaded the plot with details several times, but this helped him to create the impression of a natural village fun, devoid of official idleness.

Plastov A.A. - Soviet painter, People's Artist of the USSR. Plein-air genre paintings and landscapes, Plastov's portraits are imbued with a poetic perception of nature, the life of the Russian village and its people ("Fascist flew by", 1942, cycle "People of the collective farm village", 1951 - 1965). Lenin Prize (1966) State. USSR Prize (1946).

In 1945, a large period in the history of art of the 20th century ended. The victory of democratic forces over fascism and the grandiose socio-political, national and international changes that followed it decisively rebuilt the artistic geography of the world, introduced serious changes in the composition and course of development of world art. With its new problems, art enters the post-war period, when the three main factors that determine its development - socio-political, national and international, ideological and artistic - create a new historical and artistic situation.

The spirit of wartime was imbued with the work of artists and sculptors. During the war years, such forms of operational visual agitation as military and political posters and caricatures became widespread. Thousands of copies were issued such posters, memorable for the entire military generation of Soviet people: “Warrior of the Red Army, save!” (V. Koretsky), "Partisans, take revenge without mercy!" (T. Eremin), "The Motherland is calling!" (I. Toidze) and many others. More than 130 artists and 80 poets took part in the creation of the satirical TASS Windows.

Gerasimov Sergey Vasilyevich (1885-1964)

A gifted painter and graphic artist, a master of book illustration, a born teacher, S. V. Gerasimov successfully realized his talent in all these areas of creativity.

He received his artistic education at the SHPU (1901-07), then at the Moscow School of Painting and Art (1907-12), where he studied with K. A. Korovin and S. V. Ivanov. In his youth, Gerasimov preferred watercolors, and it was in this fine technique that he developed the exquisite color scheme characteristic of his works with silver-pearl overflows of free, light strokes. Along with portraits and landscapes, he often turned to the motifs of folk life, but it was not the narrative and not the ethnographic details that attracted the artist here, but the very element of rural and provincial urban life ("At the Cart", 1906; "Mozhaisk Rows", 1908; "Wedding in the tavern ", 1909). In drawings, lithographs, engravings of the early 1920s. (series "Guys") the artist was looking for a sharper, more dramatic expression of the peasant characters. These searches partly continued in painting: "Front-line soldier" (1926), "Collective farm watchman" (1933). Gerasimov is a lyricist by nature, an exquisite landscape painter. His highest achievements are in small natural studies of Russian nature. They are remarkable for their poetry, subtle sense of life, harmony and freshness of color ("Winter", 1939; "Ice has passed", 1945; "Spring morning", 1953; series "Mozhaisk landscapes", 1950s, etc.). Meanwhile, according to the official hierarchy of genres adopted in his time, a painting with a detailed and ideologically sustained plot was considered a full-fledged work of painting. But to a certain extent, Gerasimov succeeded in such paintings only when he could convey a lyrical state in them, uniting the poetic nature of the natural environment: "On the Volkhov. Fishermen" (1928-30), "Collective Farm Holiday" (1937).

Attempts to convey dramatic situations were not very convincing ("The Oath of the Siberian Partisans", 1933; "Mother of the Partisan", 1947). Among the artist's graphic works, illustrations for N. A. Nekrasov's poem "Who Lives Well in Russia" (1933-36) and M. Gorky's novel "The Artamonov Case" (1939-54) gained the greatest fame; for them Gerasimov was awarded the gold medal of the World Exhibition 1958 in Brussels). From a young age and throughout creative way Gerasimov was enthusiastically engaged in teaching: at the art school at the printing house of the I. D. Sytin Partnership (1912-14), at the State School of Printing under the People's Commissariat for Education (1918-23), at Vkhutemas - Vkhutein (1920-29), Moscow Polygraphic Institute (1930 -36), MGHI (1937-50), MVHPU (1950-64). In 1956 he was awarded academic degree Doctor of Arts.

Alexander Alexandrovich Deineka

Alexander Alexandrovich Deineka was born on May 8 (20), 1899 in Kursk, in the family of a railway worker. He received his initial education at the Kharkov Art School (1915-1917). The youth of the artist, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the section of the Fine Arts Gubnadobraz, designed agitation trains, participated in the defense of Kursk from the whites.

From the army he was sent to study in Moscow, at VKhUTEMAS at the printing department, where his teachers were V.A. Favorsky and I. I. Nivinsky (1920-1925). Great importance in the creative development and in the formation of the artist's attitude, they had years of apprenticeship and communication with V.A. Favorsky, as well as meetings with V.V. Mayakovsky. The creative image of Deineka was vividly and clearly presented in his works at the very first exhibition in 1924, in which he participated as part of the "Group of Three" (the group also included A.D. Goncharov and Yu.I. Pimenov), and at the First Discussion exhibition of associations of active revolutionary art. In 1925 Deineka became one of the founders of the Society of Easel Painters (OST). During these years, he created the first Soviet truly monumental historical and revolutionary painting, The Defense of Petrograd (1928). In 1928 Deineka became a member of the art association "October", and in 1931-1932 - a member Russian Association proletarian artists (RAPH). In 1930, the artist created posters expressive in terms of color and composition “We are mechanizing the Donbass”, “Athlete”. In 1931, paintings and watercolors very different in their mood and subject matter appeared: “On the Balcony”, “The Girl at the Window”, “The Mercenary of the Interventions”.

A new significant stage in the work of Deineka began in 1932. The most significant work of this period is the painting "Mother" (1932). In the same years, the artist created works that were bold in their novelty and poetry: “Night landscape with horses and dry herbs” (1933), “Bathing girls” (1933), “Noon” (1932), etc. Along with works of lyrical sound Socio-political works also appeared: “The Unemployed in Berlin” (1933), drawings filled with anger for the novel “Fire” by A. Barbus (1934). From the mid-1930s, Deineka became interested in contemporary themes. The artist had previously addressed the theme of aviation (Paratroopers over the Sea, 1934), but in 1937, work on illustrations for a children's book by pilot G.F. Baidukov "Across the Pole to America" (published in 1938) contributed to the fact that the master with new force became interested in aviation. He painted a number of paintings, one of the most romantic - "Future Pilots" (1937). The historical theme found its embodiment in monumental works devoted mainly to pre-revolutionary history. The artist made sketches for panels for exhibitions in Paris and New York. Among the most significant works of the late 1930s and early 1940s is The Left March (1940). During the Great Patriotic War, Deineka created tense and dramatic works. Painting “Outskirts of Moscow. November 1941 "(1941) - the first in this series. Deep suffering is imbued with another work - "The Burnt Village" (1942). In 1942, Deineka created the canvas “The Defense of Sevastopol” (1942), filled with heroic pathos, which was a kind of hymn to the courage of the defenders of the city. Among the significant works of the post-war period are the canvases “By the Sea. Fishermen” (1956), “Military Moscow”, “In Sevastopol” (1959), as well as mosaics for the foyer of the assembly hall of Moscow University (1956), a mosaic for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka's mosaics adorn the Mayakovskaya (1938) and Novokuznetskaya (1943) Moscow metro stations, and for the Good Morning (1959-1960) and Hockey Players (1959-1960) mosaics, he was awarded the Lenin Prize in 1964 .

Deineka taught in Moscow at Vkhutein (1928-1930), at the Moscow Polygraphic Institute (1928-1934), at the V.I. Surikov Moscow Art Institute (1934-1946, 1957-1963), at the Moscow Institute of Applied and Decorative Arts (1945-1953, director until 1948), at the Moscow Architectural Institute (1953-1957). He was a member of the presidium (since 1958), vice-president (1962-1966), academic secretary (1966-1968) of the decorative arts department of the USSR Academy of Arts. Awarded the Order of Lenin, the Order of the Red Banner of Labor and medals, Hero of Socialist Labor (1969)

June 12, 1969 Alexander Alexandrovich Deineka died in Moscow, was buried in the Moscow Novodevichy cemetery

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