Advances in Social Science, Education and Humanities Research, volume 341 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019) The Art of Revolution and Revolution in Art: Historiographical Aspect Natalia Sipovskaya State Institute of Art Studies Moscow, Russia E-mail: [email protected] Abstract—The article focuses on the analysis of the 1917, lived through five years of triumph and faded away relationship between radical political movements and “artistic before the late 1920s. riots” in Russia in the 1910s, that changed the world history and new art. The Proletkult activities and other cultural The events' outline also includes numerous reasons for initiatives of the Soviet government are set as an example to comparison: many artists of the radical wing were “tempted trace the mechanics of using the latest artistic achievements to by revolution” and took part in the revolutionary events create a mythologized image of the Great Revolution. On the devoting their art to implementing the revolutionary ideas. contrary, the history of studying the Russian formalistic The inspired radical artists ready to serve the revolution were movements of the 1920s, which began in the late 1950s, is supported by the new power, which framed a brief post- considered a mirror image of this process. From the myth of revolutionary alliance of the young Soviet Republic and the the avant-garde as a single impulse, stopped on the run, the formalist art representatives. The main consolidating figure researchers refer to documentary and intent study of the was A. V. Lunacharsky (1875-1973), the first People's certain events and trends. Demythologization goes in two ways: Commissar of education and an active revolutionary. Later through clarifying the facts and reconstruction of the semantic he was frequently criticized for his sympathy with “leftist” context of art of the 1910-1920s. It is noteworthy that in recent art movements. Though in fact, his patronizing the left wing years these tendencies merge to an increasing extent, artists did not reflect his sympathy with their art (it is known demonstrating the creation of new methodological approaches that the People's Commissar mostly supported classical to the study of the subject. forms) or did not stem from misperceiving the avant-gardists' Keywords—revolution; avant-garde; Proletkult; People's revolutionary ideas to be close to the ideas of class struggle. Commissariat for Education; First Russian art exhibition; Following the leader of the Soviet state, Lunacharsky was Anatoly Lunacharsky; David Shterenberg; Sergei Eisenshtein; powered with the idea of expressing and imprinting the Vyacheslav Zavalishin; Camilla Gray; Larissa Shadowa; Dmitri significance of the accomplished unprecedented historic Sarabjanow; Evgeni Kovtun; J.E. Bowlt event in the minds of people's masses and their descendants. In other words, the great event demanded a myth being created, and the radical art, laconic, eye-catching and I. INTRODUCTION categorical in its intonation, seemed to be the most efficient The interrelation of radical social and political instrument for that. movements, which have considerably changed the course of both Russian and world history, and the “artistic riots”, II. NEW POWER AND NEW ART which have transformed the stylistic and formalistic structure alongside with the course of the whole art process, has been The scope and consistency of efforts made by the young the matter of focused attention. Indeed, these two Republic for accumulating the art forces to commemorate phenomena reveal quite a few common features tempting a the Great Revolution, its devotees and ideas, are worthy of specialist: emphasized and openly declared radicalism, amazement. The first step was Proletkult organization (1917- outspoken futuristic principles, common style recorded with 1932) [Russ. Proletarskaya kultura, proletarian culture], almost literal coincidence of their slogans and declarations, which united the proletarian cultural and educational and finally, an incredible accomplishment — both had organizations that appeared after the February Revolution. In seemed to be utopian projects of a limited circle of September 1917, Lunacharsky initiated their first conference, enthusiastic dreamers. A rare timing of that accomplishment which laid the foundation of the organization's all-Russia is remarkable: both social and art radicalism started in 1905 status. By the summer of 1919 Proletkult counted more than with the First Russian revolution and “Scarlet Rose” 100 local organizations with over 80 thousand members; it exhibition, which preceded the advent of symbolism, and had three theatres (in Moscow, Petrograd and Penza), and with debuts of Vs. Meyerhold and A. Tairov (who had been published 20 periodicals. twice arrested for organizing 1905 strikes of theatre actors in Kiev). They had reached their peak simultaneously by 1915- Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 7 Advances in Social Science, Education and Humanities Research, volume 341 The determinant initiative was the decree “On Republic's artists representing different styles. However, famous old Monuments”1 issued by the Council of People's Commissars school painters refused to take part without purchasing their and signed on April 12, 1918, a month and a half after the works; besides, they had highly estimated their pictures. The decree on forming the Workers and Peasants' Red Army, Narkompros section of visual arts had to complete the almost literally accompanied with cannons that would seem exhibition with enthusiasts' works [1]. to make Muses keep silence. Besides the campaign historically known as “Lenin's Plan of Monumental III. THE MYTH CREATION Propaganda” aimed at removing the old monuments and erecting the new ones which could reflect “the ideas and One of the most remarkable results of cooperation feelings of the revolutionary working Russia”, the document between the new state and the innovative art was designing declared the status of celebrating May 1, Day of International, and organizing the festivities of the first post-revolutionary as a public holiday, and thus established a precedent for decade. The numerous collection of sources that has recently creating the institution of nationwide celebrations (by the been enriched with a range of editions published to autumn the revolution anniversaries were added to the First commemorate the centenary of the Great Russian revolution, of May festivities). Also, the necessity of decorating the gives us the opportunity not to dwell upon the subject. We capitals was highlighted. In accordance with the decree, the will just note that the most outstanding artistic design was section of visual arts of Narkompros (People's Commissariat that of the first anniversary of the revolution, while the best of Education) was organized later, on May 22, 1918. Its head theatrical celebrations were 1919 May Day festivities, when was David Petrovich Shterenberg (1881-1948), a graduate of all the theatres showed their open-air performances on the the École des Beaux-Arts in Paris, a member of Comfut orders of Narkompros TEO (People's Commissariat for [Communists-futurists] association, the future founder of Education theatre section). It is remarkable that half a year OST [the Society of Easel Painters]. Until the mid-1920s, the separating the events demonstrates a clear tendency of the Narkompros section of visual arts was in fact an association leading role moving from artists to stage directors. The of formalist artists rejected by former official art. N. I. matter is that great and expressive decorative panels changed Altman, N. N. Punin, V. V. Mayakovsky was among them. the images of Petrograd and Moscow in October 1918 but Earlier than that, in January 1918, the theatre section (TEO) most people hardly perceived them; besides, unlike draft was organized in Narkompros, headed by Vs. E. Meyerhold designs still worth admiring, the huge flapping panels made (1874-1940). of cheap materials looked very shabbily sometimes. But the main reason of preference was an apparent circumstance: a Representatives of different radical art styles were spectacle, especially a mass one, is much more efficient for actively involved in all the art initiatives of the young myth making, which was the main objective of those republic: from Proletkult to the ROSTA Windows (ROSTA, magnificent festivities. The logical end to the process was the Russian Telegraph Agency) (they are to thank for transition of the leading role from stage management to “the propaganda porcelain made by the State Porcelain Factory, most important” of all arts. The film by S. M. Eisenstein which was export revenue in the 1920s). (1898-1948), “October”, made in 1927 to commemorate the Another significant thing played an important role in 10th anniversary of the revolution became both an establishing contacts of the young republic and the young art: outstanding art phenomenon and a brilliant finale of the ten- the artists representing the old academic school were “the year myth making process, while for the following old-fashioned intelligentsia” in terms of the time, and they generations it was a vivid and convincing implementation of were not eager to give their support to the new power or the revolutionary events. enthusiastic about the revolution. An illustrative example is Nevertheless, visual arts