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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Siberian Federal University Digital Repository Journal of Siberian Federal University. Humanities & Social Sciences 9 (2014 7) 1606-1619 ~ ~ ~ УДК 7.036 Art groups in Russia After 1917 Natalya V. Pokrovskaya* Krasnoyarsk State Institute of Art 98 Mira Av., Krasnoyarsk, 660017, Russia Received 02.06.2014, received in revised form 12.07.2014, accepted 15.08.2014 The main purpose of the present article is to study the art groups existing in Russia after 1917, included into the stream of world artistic culture. The present work presents the analysis of Russian Soviet pieces of art made in XX century, an overview of general culture and art issues together with the issues of phylosophy, aesthetics, literature, history of art, binding them to common artistic practice. The main body of the article is a comparative analysis of such groups of artists as “OBMOHU”, “Unovis”, “Segodnya”, “Detgiz”, “MHK”, “INHUK”, “Zorved”, “ASNOVA”, “OSA”, “Makovets”, “AHRR”, “4 iskusstva”, “OST”, “Krug Khudozhnikov”, “NOZH”, “MAI” carried out with historical and survey methods of research. The article introduces their main participants, leaders, postulates, ideas, theoretical platforms, times and places of their major exhibitions. In general, the research reproduces one edge of a very short, but intensive and lively period of the country’s life. Its high professionalism still remains the measure and criterion for assessing modern pieces of art. This article addresses to students of art institutes majoring in academic and applied specialities. Keywords: art groups, Soviet art, artistic platforms, artistic exhibitions, avant-garde and traditional art. Russian art after 1917 (Soviet art) is Year 1917 was a special milestone in the complicated, contradictory, and ambiguous. political history of Russia but had no such Moreover, it was a factor influencing many significance for the history of art. The brake point other spheres of social life. Russian artistic of artistic conscience is mid 1910-s, connected culture entered the international arena. Among with the ideas and practice of Russian avant- the important victories of the Soviet art were garde, which resulted in creating a method to revolutional avant-garde and officially recognized build a new reality, not even bound to the visible socialist realism. Massive campaigning, art groups world. However, after the year 1917 the aesthetic of 1917-1920, social control of 1930-1950 are all search of the 1910-s changed its vector: the formal different variations of realism. Co-existence, experiments now play the role of the revolution’s interaction, mutual replacement, development of artistic language. The major representatives different trends are all the words to describe the of avant-garde had their allies and followers symbolism and allegorism of the artistic thinking (Kandinsky, Malevich, Filonov, Chagall, Tatlin), of those times. but usually did not belong to any groups. They © Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 1606 – Natalya V. Pokrovskaya. Art groups in Russia After 1917 create their own forms of art, opposing their art 1919, at the last credit before the qualification exams to general European avant-garde. the graduates of the First State Art Workshops Russian avant-garde is oppositional (former Stroganov College) were greeted by towards European modernist movement. There A.V. Lunacharsky. OBMOHU (12 graduates) was were several avant-garde artistic centres in supposed to carry out the propaganda tasks of Art Russia which determined the cultural life of Department of “Narkompros”. All the works were Moscow, Vitebsk, and Leningrad: Ginhuk anonimous, considered to be done collectively (based on the experience of Zubov Institute and signed as “OBMOHU”. They also produced of History of Art, founded in Petersburg in the posters, drafts for theatre scenery and costumes year 1912), Decorative Institute in Petrograd (Z. Reich theatre), graphics and decorations for and its workshops for posters, theatre sceneties, the near-front zone and decorated provincial campaigning art (leaded by Iosif Shkolnik after towns (such as Voronezh). It was a real creative 1918), Leningrad Porcelain Factory (scientific laboratory performing certain works (posters and artistic laboratory of Malevich followers: for Extraordinary Commission of the Literacy N. Suetin, I. Chashnik, A. Leporskaya). The Project leaded by N.K. Krupskaya). The analysis spirit of collectivism reigned at Public Institute of art produced in the 1920-s reveals true value of of Art in Vitebsk, in the centre of suprematism “laboratory searches” and experiments of certain propaganda, in “Unovis” group (Ilia Chashnik, art groups. Vera Yermolayeva, Lazar Lissitzky, Nikolai Avant-garde features revealed themselves Suetin and Kazimir Malevich). very vividly in book art, which was caused Representatives of new art founded People’s by extraordinary closeness of poetry and Comissariate for Enlightment, “Narkompros”, painting (in Russia the “inventor” of futuristic and Arts Department. The purpose of the book was poet A. Kruchenykh). One of the official art, the “Proletkult” of “Narkompros”, brightest examples of an artistic publishing was to destroy the old “nobiliary” culture and house was the way from “Segodnya” (“Today”) create the new, “proletariate” one. “Proletkult” team to Leningrad “Detgiz” (V. Yermolayeva, (abbreviation for “proletariate culture”) was V. Lebedev, E. Evenbakh etc.). In the years a cultural, enlightment, literary and artistic 1918-1919 a team of artists called “Segodnya” organization (1917-1932), which did not divide was formed. M. Gorky and V. Mayakovsky art into “official” and “inofficial” (before 1932); it used to be frequent guests of the group. did not belong to any aesthetic system or trend of Apartment of V. Yermolayeva in Petrograd art, and was characterized with “moderateness”, became a meeting spot for artists and writers “legality”, “traditionalism”. who united for cooperative work on publishing The first state artistic workshops (followers books (for children), which was the beginning of A. Lentulov, G. Yakulov, A. Rodchenko) were of Leningrad Detgiz. Artists and writers did formed at former Stroganov College in Moscow, everything themselves, from typing to selling when in the year 1919 OBMOHU (abbreviation the book: they called it “rule of thumb” and for “young artists’ association”), consisting of 20 “samizdat” policy. The small pressruns (125 people, was created. The works by OBMOHU copies) were engraved on ordinary floor cloth members were displayed at four independent and painted by the artists themselves. The exhibition at the First Russian Art Exhibition in connection of the two groups, “Segodnya” and Berlin, at Van Diemen Gallery (1922). In the year “Detgiz” is especially remarkable. In the year – 1607 – Natalya V. Pokrovskaya. Art groups in Russia After 1917 Fig.Fig. 1 Fig.Vvedensky1 Vvedensky 1 Vvedensky A. A.and andEvenbakh A. Evenbakh and E. Evenbakh E. E. Fig. Fig. 2 Shvarts 2 Fig.Shvarts E.2 andShvarts E. Evenbakh and E. Evenbakh E.and Evenbakh E. E. On DecemberOn December 5, 1918 5, Artistic1918 Artistic Culture Culture Museum Museum was opened. was opened. The museum The museum in in MyatlevMyatlev1925 House S. Marshak House on the gatheredon Saint the aSaintIsaac creative SquareIsaac group Square ofat Petrograd of OnPetrograd Decemberbecame became the5, 1918first the Artisticmuseum first museumCulture of of the National Publishing House of Leningrad: Museum was opened. The museum in Myatlev modernmodern art in artthe inworld. the world. On April On April3, 1921 3,, 1921the Painting, the Painting Department Department of the ofMuseum the Museum B. Zhitkov, V. Bianki, K. Chukovsky, E. Shvarts House on the Saint Isaac Square of Petrograd was openedwas(Fig. opened2), for D. visitors; Kharms, for visitors; later, A. Vvedensky departmentslater, departments (Fig. of1), drawing, becameof drawing, iconsthe first andicons museum artistic and artisticof industry modern industry artwere in the were opened,opened,N. Zabolotskyand their and and collectionstheir others. collections The artisticwere publishinggranwereted gran toted world.Russian to OnRussian April Museum 3, 1921,Museum inthe Painting1926. in 1926. InDepartment 1927 In 1927 house of “Detgiz” was headed by V. Lebedev of the Museum was opened for visitors; later, RussianRussianwho Museum also invitedMuseum used V. Yermolayeva, themused forthem the E.for exhibitionEvenbakh the exhibition devoteddepartments devoted to of the drawing, toTenth the icons TenthAnniversary and artistic Anniversary industry of of the Revolution.the(Fig. Revolution. 1), N. Tyrsa,Artistic A.Artistic CulturePakhomov, Culture Departme N. Lapshin, Department studiedwerent opened,studied the andfive the their systemsfive collections systems of werenew of granted art:new art: Yu. Vasnetsov, V. Kurdov, E. Charushin. In to Russian Museum in 1926. In 1927 Russian impressionism,impressionism,decoration ofsesannism, the childrens’sesannism, cubism, books cubism, eachfuturi of sm, futurithe suprematism,sm,Museum suprematism, used themworked for worked the on exhibition the on “additive thedevoted “additive to element”element”masters theory. developed theory. On the his On anni own the versarystyle anni basedversary of onthe their ofdeath the the deathof TenthVeli of mirAnniversary Veli Khlebnikovmir Khlebnikov of the Revolution. (1923) (1923)
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