Abstract love 'as a moral feeling was completed by a student of the ad40 group.

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Significance of Soviet Art The official Soviet art, the fine arts of the USSR, covers a period of years and is characterized by the enormous role of ideology in its development. This period (due to obvious historical changes) is characterized by a change in the main main line of official art in comparison with the previous stage in the development of Russian art. The ideological content begins to come to the fore. “Art belongs to the people. It must have its deepest roots in the very thickness of the working masses, it must be understood by these masses and loved by them. It must express the feelings, thoughts and will of these masses, raise them. It should awaken the artists in them and develop them.” IN AND. Lenin. The main "tasks" of Soviet art: "to serve the people, to defend the common cause of the struggle for socialism and communism, to bring people the truth, to give birth in them creativity» In addition, nationality and multinationality were important concepts.

Government policy towards art Already in the first months after coming to power, the Soviet government adopted a number of resolutions important for the development of culture: In November 1917, the Collegium for Museums and the Protection of Monuments of Art and Antiquity was created under the People's Commissariat for Education. “On the Protection of Libraries and Book Depositories” “On the Registration, Registration and Storage of Art and Antiquity Monuments” on the general registration of works and monuments of art and antiquity. This accounting was carried out by the museum department of the People's Commissariat of Education. "On the recognition of scientific, literary, musical and artistic works as state property" An important aspect government policy in the arts has become a matter of museums. In the early years, the Soviet government nationalized art museums, private collections, the Moscow Kremlin was nationalized, its cathedrals were turned into museums, measures were taken to protect the monuments of Kolomna, Serpukhov, Novgorod, Pskov, etc. The royal palaces and some landowners' estates were turned into museums. In 1919, there were 87 museums in Russia, in order to study and systematize artistic values, the State Museum Fund was established, where museum values were concentrated. After accounting, systematization and study, the stage of acquisition of museums began, the values were approximately evenly distributed among the various museums of the country. In parallel, large-scale museum construction began.

Festive decoration of cities The artistic decoration of festivities is another new phenomenon of Soviet art that had no tradition. Anniversaries included 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.

Lenin's plan for monumental propaganda In 1918 VI. Lenin issued a decree "On the Monuments of the Republic". It announced a plan to influence the masses with the help of sculpture. Per short time the best Soviet sculptors erected many monuments to figures of the revolution and culture. Unfortunately, most of them have not been preserved due to the cheapness of the materials used.

Political poster Art forms that can "live" on the streets in the first years after the revolution played a major role in "shaping the social and aesthetic consciousness of the revolutionary people." The poster turned out to be the most mobile and operational form of art. The sharpness of the presentation of the material, the instant 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.

Political poster Before the revolution, there were no political posters, only advertising or theater posters. The Soviet political poster inherited the traditions of Russian graphics, primarily political magazine satire. Many of the masters of the poster have developed precisely in magazines. The first political posters were small, 4-6 colors and depended on the traditions of folk pictures - luboks with their narrative and detailed drawing. Special place in the development of the poster is occupied by Windows of satire ROSTA. 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.

Painting of the times of the revolution Traditional easel forms of painting are developing. Many of the Soviet artists of the older generation of the first years of Soviet power were formed in the pre-revolutionary years and, of course, “contact with new life was associated with considerable difficulties for them, which were associated with the breaking of the creative individuals already established by the period of the revolution. Soviet art history divided the masters of Soviet painting of this period into two groups: artists who sought to capture scenes in familiar pictorial language 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.

Painting of the times of the revolution Konstantin Yuon created one of the first works dedicated to the image of the revolution "New Planet", where the event is interpreted on a universal scale. Petrov-Vodkin created the painting "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 expanse” 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 Art of the Years In Soviet textbooks, this period was characterized as "Art in the period of struggle for the victory of socialism and the strengthening of socialist society" year end date civil war, in Soviet historiography is taken as the starting point of the report. Since that time, the country has been restoring the economy, reorganizing the economy according to the socialist principle, and destroying the old habitual foundations of life. All this is reflected in art. 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 art. This moment marks the beginning new era 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 one, a better life, heroic deeds with the aim of achieving a happy life for all people. Concreteness. In the depiction of reality, show the process of historical development, which in turn must correspond to materialistic understanding.

Painting This period for painting was stormy and productive. Many artistic associations continued to exist with their own platforms and manifestos. Art was in search and was diverse. The main groupings were AHRR, OST, and also "4 arts". Soviet easel painting also 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.” 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.

AHRR Association of Artists of Revolutionary Russia was founded in 1922. Its core was made up of former Wanderers, whose manner had big influence on the approach of the group is the realistic everyday writing language of the late wandering, "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 device thematic exhibitions such as "Life and Life of Workers", "Life and Life of the Red Army".

AHRR The main masters and works of the group: Isaac Brodsky "Lenin's Speech at the Putilov Factory", "Lenin in Smolny", Georgy Ryazhsky "Delegate", "Chairman", Sergey Malyutin "Portrait of Furmanov", Abram Arkhipov, Efim Cheptsov "Meeting of the Village", Vasily Yakovlev "Transport is getting better", Mitrofan Grekov "Tachanka", "To the Kuban" and "Trumpeters of the First Cavalry".

OST 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", "Before descending into the mine", "Defense of Petrograd", 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.

4 Arts and OMX The Four Arts Society was founded by artists formerly of the Art World and the Blue Rose, who cared about the culture and language of painting. The most prominent members of the association: Kuznetsov, Petrov-Vodkin, Saryan, Favorsky and many other outstanding masters. The society was characterized by a philosophical background with adequate plastic expression.

4 arts and OMC The Society of Moscow Artists included former members of the associations "Moscow painters", "Makovets" and "Genesis", as well as members of the "Jack of Diamonds". The most active artists: Konchalovsky, Mashkov, Lentulov, Kuprin, Falk, Rozhdestvensky, Osmerkin, Gerasimov, Chernyshev, Grabar. Artists created "thematic" paintings, using the accumulated "jack of diamonds" tendencies of the avant-garde school. The creativity of these two 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, which consolidated the trends for the 10th anniversary of October and the Red Army, as well as the “Exhibition of the Art of the Peoples of the USSR”.

Graphics Characteristic features of graphics of the 1920s: the theme is usually classical literature, the technique is usually photomechanical reproduction of a pen or pencil drawing. The style initially developed from the development of the tradition of illustrative graphics, for example, the "World of Art". One of the best works of those years, illustrations for Dostoevsky's "White Nights" by Dobuzhinsky. For Moscow artists, an important factor was the revival of the xylography technique. Masters of this direction Favorsky, Kravchenko, Pavlinov, Kupreyanov. Favorsky is the most prominent figure in the development of woodcuts in the 1920s. He is praised for trying to create a complete organism from the book. Kravchenko is interesting as an illustrator of romantic literature. During this period, graphics can realize themselves in the most different forms illustration, landscape album, cycles of portraits, print sheets, bookplates, emblems, banknote projects, stamps. In addition to engraving, traditional types of graphics continued to exist - pencil, charcoal, pastel.

Sculpture In the sculpture of the 1920s and 1930s, monumental art flourished, the sculptural portrait. At this time, I. Shadr creates his famous composition "Cobblestone - the weapon of the proletariat", S. Merkurov, A. Matveev, A. Golubkina work fruitfully. The work of V. Mukhina enjoyed great popularity. In the Italian monograph "Sculpture of the first half of the 20th century" it is written: "The greatest sculptors of the 20th century are Rodin and Mukhina ...". World fame brings Vera Ignatievna "Peasant Woman" a collective image of a rural woman, a toiler and mistress of her land.

Architecture In the early years of Soviet power, architecture and construction served to restore National economy, were called upon to lay the foundations of a new socialist economy. As adopted in 1920. According to the GOELRO plan, the Volkhovskaya HPP, the Zemo-Avchalskaya HPP, and the colossal Dneproges complex were built. In search of new architectural forms that would allow expressing the pathos of heroic transformations, in the struggle of various trends - modernism, romanticism, rationalism, functionalism, formalism - constructivism is created as a rather powerful and interesting style direction of the 1990s.

Architecture The theoretical credo of constructivism is based on giving the constructive system and its elements an aesthetic value. Prominent architects of this direction largely determined the appearance of the architecture of our country, creating a number of interesting works: the project of a monument to the International, the Palace of Labor in Moscow, etc. A direction called rationalism developed from constructivism, which combined the principles of constructivism with expression, rationalistic perception and interpretation of form. Such are the works of architects V. Schuko and V. Gelfreich. The construction of the Moscow metro begins.

Art during the Great Patriotic War The Great Patriotic War obviously became the most important factor influencing the development of art in the 1940s. Soviet artists and sculptors, like other citizens, were actively involved in the defense of the country, and due to the specifics of their profession, they were involved in propaganda tasks determined by the government, which during this period was given a colossal role. Poster Kukryniksy "We will mercilessly defeat and destroy the enemy!" appeared the day after the Nazi attack. The artists worked in many directions, they produced political posters for the front and rear (the task is to inspire people to a feat), at the front they collaborated in front-line newspapers, various editorial offices (the role of the M. Grekov Studio of Military Artists is important here). In addition, they created works for exhibitions, "performing the role of public propagandist, which is usual for Soviet art." During this period, two large all-Union exhibitions "The Great Patriotic War" and "The Heroic Front and Rear" were held, and in 1943 an exhibition was organized for the 25th anniversary of Soviet army where the best works about military events were presented. 12 republican exhibitions were held in the Union republics. The blockade artists of Leningrad also fulfilled their mission: see, for example, the blockade pencil magazine created by them and regularly published.

Posters of the Great Patriotic War The poster was one of the most important genres of the Soviet visual arts during the Great Patriotic War. The old masters who developed during the years of the Civil War also worked on it: Moor, Denis, Cheremnykh. As well as the masters of the next generation: Toidze, Kokorekin, Ivanov, Koretsky. The TASS windows, in which the Kukryniksy and many others collaborated, were an important phenomenon.

Painting Soviet artists created a kind of chronicle of the Great Patriotic War. The content of the paintings suggested itself as a fascist threat, harsh everyday life wars, mourning for the dead, hatred for the enemy, then the joy of victory, a sense of belonging to everyone in a common cause. “The figurative disclosure of the experience of Soviet people in a terrible time later turned into a thematic tradition of Soviet art.”

Painting Particularly valuable are paintings painted directly during the war years under the impression of it. One of the first similar works this kind of “Outskirts of Moscow. November 1941" by Deineka. There is no special plot, but the artist gives a generalized fixed evidence of the unusual state of the city and the era itself. Arkady Plastov in the first period of the war created the famous painting "The Fascist Flew". The works created during the war years differ as the artist's experience of perception of events grows, depending on the year of their creation. Reticence and conciseness are gradually replaced by a tendency towards a voluminous expression of what is being experienced due to the deepening of understanding of what is happening.

Architecture War also became the main theme of this genre, although it was much more difficult for sculptors to work in the conditions of the front. The most common genre of military sculpture was the portrait. It summarized a heroic, difficult time. Vera Mukhina was the most active master in creating a portrait gallery of wartime heroes. She came out with "workers of battles", evoking sympathy for the lack of external pathos. Although no monumental monuments were built during these difficult years, the design continued. In 1941, a competition was held for a monument to General Panfilov. The winners were Apollon Manuilov, A. Mogilevsky and Olga Manuilova.

Architecture During this period, of course, little was built, but projects in the field of housing and urban planning continued to be created. In 1943, to improve the quality of architecture and construction during the restoration of war-torn cities and settlements The USSR organized the Committee for Architecture. Before him was the task of restoring 70 thousand settlements, from cities to villages, destroyed by the Germans. In the years restoration work has begun. The main tasks were at first Stalingrad, Voronezh, Novgorod, Kyiv, Smolensk, Kalinin. The restoration of the Dneproges began. Master plans for cities and republics of the USSR were created.

The Art of the Years This period in Soviet art history textbooks was called “Art in the period further development socialist society". In the early post-war years, economic recovery proceeded rapidly, and main theme art was the pathos of heroic labor, as well as the chanting of the "Great Victory".

Painting In the painting of these years, the historical, "historical-revolutionary" genre became widespread. Patriotic feelings born of the Great Patriotic War have sparked interest in native history generally. This war also turned into a historical phenomenon. As a result, historical and household genre approached. Such, for example, is Neprintsev's painting "Rest after the battle" about Vasily Terkin.

Painting The theme of "peaceful labor", peaceful life, also enjoyed special attention. “They impressed the perception of the viewer with a manifestation of the special, extra-military beauty of the surrounding person, nature, objects, etc.” The joyful fullness of life without war, "joyful work", thanks to which a person felt especially young and happy, was expressed in paintings. Such, for example, is the painting “Bread” by Tatyana Yablonskaya. “Peaceful creation as the main content of life Soviet society, which was especially clearly revealed at the turn of war and peace, was also a new impetus in the development of the landscape genre. The interpretation of the image of nature, which was widespread during the war, as a background for various front-line plots, is giving way to an image of nature imbued with joy and harmony. The landscape of the lyrical direction received new impulses in its development.

Graphics Satirical graphics of the post-war period is one of the most popular and "combat" types of Soviet fine art. The masters of political caricature worked actively on international themes who worked for Pravda and other central newspapers. Thus, the Kukryniksy created a number of significant satirical works "Wall Haircut", "By the Bedside", "Donna Franco". Accuracy characteristics, skillful selection of attributes of the main artistic means these cartoonists. Soyfertis and Goryaev also successfully work in the field of political satire - dynamism, sharpness, sketchiness, light touch.

Sculpture In the post-war years, monumental trends intensified in sculpture. This was facilitated by the publication of a government decree on the construction of monuments-busts of twice Heroes Soviet Union and twice Heroes of Socialist Labor for their subsequent installation in their homeland. The sculptural monument and monument-monument as a genre have become extremely popular. In addition to monuments to war heroes and memorials, monuments to historical characters and cultural figures were erected in the 1950s. In 1953, according to the project of Sergei Orlov, the Monument to Yuri Dolgoruky was erected; in 1958 a monument to Mayakovsky by the sculptor Kibalnikov. Mikhail Anikushin created a monument to Pushkin.

Architecture In the first post-war period, the work of an architect was characterized by particular intensity. They were actively engaged in the restoration of destroyed buildings, while creating new ones. Restoring cities, architects tried to correct their old shortcomings. Thus, Khreshchatyk, the central street of Kyiv, the center of Minsk and Volgograd, was rebuilt.

Architecture As Soviet critics of the 1970s wrote: “in the complex process of developing the architecture of urban regeneration, which on the whole was undoubtedly positive, the danger of a certain mania of grandiosity was nevertheless brewing, which took over from the traits of gigantomania, characteristic of a number of works of pre-war architecture. The trend towards excessive decorativeism, later qualified as embellishment, also developed. Moscow skyscrapers turned out to be such giants, the most successful of which was recognized by the building of Moscow State University. One of the main problems remained the problem of conventional housing, exacerbated by the devastation of the war. During these years, the deployment of mass housing construction began. However, at first the construction is developing as a low-rise building due to the lack of the necessary production and technical base. Experiments with the quarterly development of Moscow begin. Later this experience was used in other cities.

The Art of the 1990s This period in Soviet textbooks of the history of art was called "Art in the Conditions of Developed Socialism." The beginning of the 1960s is characterized by new ideological and creative trends. These tendencies were developed and approved by the artists who first appeared in the 1990s. The main pathos of this art in a critical period is the desire to free itself from clichés in the approach to modernity, the desire to do away with splendor, pompous depiction of reality, to show direct contact with reality instead of speculative illustration. Artists wanted to actively experience art, not create a narrative of an event. These authors experienced the "ordinary", "everyday" in a romantic aspect, created a generalized and elevated image of everyday life. They were characterized by a direct, journalistic, "oratorical" appeal to the viewer, who, together with the artist, was called upon to evaluate the phenomena and events of life "responsibly and civilly."

Painting There are searches for new expressive means in each of the types of fine arts, searches for dynamism, laconism, simplicity of the plot, generalization with emotionality and sharpness of the most characteristic. Artists are developing a new, so-called severe style. At this time, the desire to artistically recreate reality without the usual splendor in the 40-50s, smoothing out all the difficulties, without superficial fixation of conflict-free insignificant plots, an ingrained manner of depicting the struggle of “good with the best”, as well as without illustrativeness, “literary style”, which have become almost the norm - that is, without everything that deprives the work of depth and expressiveness, adversely affecting the figurative content and artistic skill.

Sculpture Sculpture in the post-war period developed within the framework of the theme of the heroism of soldiers and the victims of the Second World War. Central location occupied a monument-ensemble, a memorial. It was the complex architectural and sculptural type of the monument that best suited the expression of the theme of victory over death, humanism. In addition, the more generations pass, the more important the figurative character of the monument becomes. Monuments were erected all over the world. Memorial complexes were created in former camps, places. The complexes were installed in the USSR and abroad. If the idea of the monument is determined by the surrounding landscape, then it is he who becomes its main character, who does not need additional structures. Such is the attitude to the very place of events, as to a monument in Babi Yar, Green belt of glory near Leningrad.

Graphics In the 1980s, graphics again came to the fore because of their mobility of subjects and replication. The print was widely spread for taste reasons and because of the complication of needs. A new quality, a unique image, a personal beginning, has appeared in graphic art. It was caused by the desire for a comprehensive depth of analysis of spiritual processes in the life of modern man. This circumstance caused a decline in interest in the print, a decrease in its popularity. Artists are moving away from printmaking to drawing, watercolor, tempera. The development of author's techniques is evidence of the complication of the figurative structure in the work of this or that artist. Book illustration is successfully developing through the efforts of artists of all generations.

Architecture In 1955, a resolution "On the elimination of excesses in design and construction" was adopted, which put an end to the Stalinist Empire style. Industrialization primarily affected housing construction: it was necessary to resolve the issue of the type of mass apartment and residential building. The construction of large areas began. In the ths. developed new style architecture is simple, economical, based on a new industry and expresses the possibilities modern technology. Important objects of this period Kalinin Prospekt, the three-pointed CMEA Building, the Ostankino TV Tower. According to standard projects, metro stations began to be built, which are differentiated due to various finishing materials.

Architecture The style of Soviet architecture of this time is evolving. He departs from rationalism, overcomes the dryness inherent in the early stage, and then puts forward a new problem of conformity with organic forms. An example of solving these issues is the Palace of Art Exhibitions in Vilnius, the USSR Pavilion at the International Exhibition in Osaka. There is an attraction to curved lines, the flow of forms, while maintaining the previously achieved rigor and expediency of architectural structures.

Hello! Please specify: in the dictionary entry for the word MADRESS the gender of this noun is indicated, but there are no examples of use in phrases with adjectives. Is the expression "the oldest madrasah" correct? From school teacher I heard a version that a madrasah is a school, therefore, a noun female, so you need to say and write "the oldest madrasah." Thank you!

Indeed, we often determine the gender of an indeclinable foreign noun according to the gender of the Russian word, which is considered as a synonym or as a generic name for this invariable noun. Avenue feminine because the word the outside feminine, and tee penalty masculine, because the gender of the word affects here (free kick. But this is more the exception than the rule. Very often, such a check does not work, the external phonetic appearance of a foreign word turns out to be a stronger factor, and the word acquires a characteristic of the middle gender. Middle - because this is a general pattern for the Russian language: indeclinable foreign nouns ending in a vowel, denoting an object, belong to the middle gender. Wed: coat, scarf, subway, cafe etc.

Here, too, in this case, the appearance of a foreign word, and not its Russian synonym, is of decisive importance. Although madrasah - school is a noun madrasah belongs to the middle class. Correctly: old madrasah.


	Question #278772

Good afternoon! How to determine the gender of the words WUSHU, KUNG FU, PENAL TI? In the dictionaries on your site, the information is different - in Bolsh. sense. WUSHU and KUNG FU dictionary - feminine, and in spelling-middle, PENAL TI - in Big. sense. dictionary masculine, in spelling - masculine. and avg. Thank you!