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Journal of Siberian Federal University. Humanities & Social Sciences 9 (2014 7) 1606-1619 ~ ~ ~

УДК 7.036

Art groups in 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, , 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, , 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 . 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 . The major representatives different trends are all the words to describe the of avant-garde had their allies and followers 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 , , 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 “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 ). 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 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 , 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 IsaacSquare group Square of at Petrograd of OnPetrograd Decemberbecame became the 5, 1918first the Artisticmuseum first museum Culture 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. opened 2), for D. visitors; Kharms, for visitors; later, A. Vvedensky departmentslater, departments (Fig. of 1), drawing, becameof drawing, icons the first andicons museum artistic and artistic of industry modern industry artwere in the were opened,opened,N. Zabolotsky and their and and collections their others. collections The artistic were publishing granwereted gran toted world. Russian to On Russian April Museum 3, 1921, Museum inthe Painting 1926. 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 and five the their systems five collections systems of were new of granted art: new art: Yu. Vasnetsov, V. Kurdov, E. Charushin. In to in 1926. In 1927 Russian ,impressionism,decoration of sesannism, the childrens’ sesannism, , books cubism, each futuri of sm, futurithe suprematism,sm,Museum suprematism, used them worked for workedthe 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) Tatlin Artistic Tatlin ability to discover the world over and over again. Culture Department studied the five systems producedproduced“Detgiz” a performance formulated a performance theon creative“” on “Zangezi” basics , a of dramat an , a dramatofic newpoem ic art: poem(“Architecture impressionism, (“Architecture sesannism, of Stories”, of cubism,Stories”, a a superstory),superstory),artist of which childrens’ which was books. a was call They a to call are: unite toability theunite to humankind, thefuturism, humankind, suprematism, in the in rooms the worked rooms of theon the of Artistic “additive the Artistic sympathize and maintain the sense of “interest”, element” theory. On the anniversary of the death CultureCulture Museum. Museum. At the At same the timesame he time worked he worked on the on “uni theversal “uni versallanguage”, language”, “language “language attentiveness of observation and pureness of (1923) Tatlin produced of stars”ofof visionstars” (Fig. (naïve 3).(Fig. For surprise), 3). example, For inventiveness example, producing producing and wordsa performance words of “ch” of on sound “ch” “Zangezi” sound (chasha , a dramatic (chasha (bowl), poem (bowl), humour, compactness and accuracy of every (“Architecture of Stories”, a superstory), which cherepcherep (skull), (skull), chulok chulok (stocking), (stocking), chan (tank))chan (tank)) one can one create can create the concept the concept of one of one creative solution. The initiator of a book could was a call to unite the humankind, in the rooms objectobject be hidden an artist, hidden in not thea writer. in skin the In Moscow of skin another. of the another. blossom Tatlin Tatlinof built the Artistic abuilt peak Culture a peakconstruction, Museum. construction, At the movable same movable time of Russian book art was boosted by the activity he worked on the “universal language”, “language of B. Favorsky and his group of artists. of stars” (Fig. 3). For example, producing words – 1608 – scenery, pieces of boards (a colourful “deck” of plains expressing the “starry night sky”) and installed two projectors. The idea to create a research centre for new problems of art arose. Filonov came up with a suggestion to transform the Museum into a research institute of modern artistic culture (Museum Conference of June 9, 1923). GINHUK, opened in August 1923 (Director: Malevich, Assistant Director: Punin, Department Executives: Tatlin, Mayushin, Mansurov), did a research of post- cubism phenomena of art. Natalya V. Pokrovskaya. Art groups in Russia After 1917

Fig. 3 «Zangezi» Khlebnikov V. Fig. 3 «Zangezi» Khlebnikov V. One of the founders of GINHUK, Mikhail Mayushin (1861 – 1934), developed ideas of “expanded vision” in painting (watercolours of the years 1920-30s). He was of “ch” sound (chasha (bowl), cherep (skull), in Bach fuga). In the earlier period, artists tried chulokthe (stocking), of department chan (tank)) for one organic can create culture whichexpressing returns sounds a human with the being means back of painting to thenature concept and of new one objectspacial hidden ideas in (Fig. the 5 skin and of Fig.(1913-1914, 5). In his canopinio ben, compared the “colour with bond” works by another. Tatlin built a peak construction, movable Mondriaan, Čiurlionis); later, the department (when two colour produce the third) occurs between the colour “environment” and the scenery, pieces of boards (a colourful “deck” of and school of Matyushin did their studies on plains“main” expressing colour (as the in “starry Bach f nightuga). sky”)In the andearlier the period, interaction artists of tried colour expressing and shape, sounds colour and installedwith the two means projectors. of painting The idea(1913-1914, to create can a besound. compared He leads with us toworks the idea by that Mondriaan, non-objectivity researchČiurlionis); centre later, for new the problems department of art and arose. schoo l in of shape Matyushin formation did and their colour studies sense on comes the from Filonov came up with a suggestion to transform observations of nature. the Museum into a research institute of modern These problemes rose in the creative artistic culture (Museum Conference of June solutions of Matyushin and in the 9, 1923). GINHUK, opened in August 1923 years 1910–1913; the synthesis of new spacial (Director: Malevich, Assistant Director: Punin, ideas (till non-objectivity) and new natural Department Executives: Tatlin, Mayushin, senses began its formation. They still remain Mansurov), did a research of post-cubism the spiritual orienting point for a group of young phenomena of art. artists: the Ender family (Maria, Ksenia, Boris), One of the founders of GINHUK, Mikhail Nikolai Kostrov, Olga Vaulina, Evgenia Magaril, Mayushin (1861–1934), developed ideas of Valida Delacroix and others. In the year 1923, “expanded vision” in painting (watercolours of the in Petrograd they united into a group called years 1920-30s). He was the head of department “Zorved”, the name of which is made of two roots: for organic culture which returns a human being “zor” (vzor, “look”) and “ved” (vedat’, “to know”). back to nature and new spacial ideas (Fig. 5 and Composer, painter, teacher and philosopher Fig. 5). In his opinion, the “colour bond” (when worked at “Spatial Realism two colour produce the third) occurs between the Workshop” of Art Academy, and later at Organic colour “environment” and the “main” colour (as Culture Department of Artistic Culture Museum – 1609 – interactioninteraction ofof colourcolour andand shapshape,e, colour colour and and sound. sound. He He lead leads sus us to to the the idea idea that that non- non- Natalya V. Pokrovskaya. Art groups in Russia After 1917 objectivityobjectivity in in shape shape formati formationon and and colour colour sense sense comes comes from from observations observations of of nature. nature.

Fig. Fig. Fig. 4 Matyushin4 4 Matyushin Matyushin M. Flower M. M. Flower ofFlower Human of of Human Human Fig. Fig. Fig. 5 Matyushin5 5 Matyushin Matyushin M. Haystack. M. M. Haystack. Haystack. Lakhta Lakhta Lakhta TheseThese problemesproblemes roserose inin thethe creativecreative solutionssolutions of of Matyus Matyushinhin and and Elena Elena Guro Guro in in the the yearsandyears at 1910GINHUK.1910 – – 1913;1913; He offered thethe synthesissynthesis his followers of of new anew new sp spacialacialwas theideas ideas new (till understanding(till non-objectivity) non-objectivity) of space andand and a principlenew new naturaltheorynatural ofsenses senses space began andbegan light its its solvingformation. formation. the extensiveThey They stil stil l lremain ofremain breaking the the spiritual thespiritual gravity: orienting orienting “rayism” point point of Larionov,for for a a tasks of creating a new image of nature as of a abstractionism of Kandinsky, suprematism of groupgroup of of young young artists: artists: the the Ender Ender family family (Maria,(Maria, Ksenia, Ksenia, Boris), Boris), Nikolai Nikolai Kostrov, Kostrov, flowing mass of interbound particles, changing Malevich, analitism of Filinov, planetarism of OlgaitsOlga volume, Vaulina, Vaulina, colour, Evgenia Evgenia dimensions, Magaril, Magaril, weight Valida Valida and Del Del acroixPetrov-Vodkinacroix and and others. others. (the “rocking In In the the space” year year 1923,or 1923, “spherical in in PetrogradshapePetrograd continuously they they united united and into into permanently. a a gr groupoup called Incalled order “Zorved”, “Zorved”, perspective”), the the name name the ofspatial of which which realism is is made made of Matyushin. of of two two to step beyond the regular vision, artists need In the year 1916 Malevich organized an roots:roots: “zor” “zor” ( (vzor,vzor, “look”) “look”) and and “ved” “ved” ( vedat’,(vedat’, “to “to know”). know”). Composer, Composer, painter, painter, teacher teacher theories, methods and cognition means of the association called “” which included andwholeand philosopher philosopher and harmony. Mikhail Mikhail The Matyushin “extensive Matyushin vision” worked worked O.atat Rozanova, “Spatial “Spatial RealismN. Realism Udaltsova, Workshop” Workshop” L. Popova, of ofI. ArtKlyun, Art Academy,includesAcademy, individual and and later later perception at at Organi Organi dependingcc Culture Culture on Department Departmentthe I. Menkov, of of Artis Artis V. Pestel,tictic Culture Culture A. Kruchenykh, Museum Museum R. and Yakobson and at at combination of psychological and physiological (Alyagrov). Then, since the beginning of January GINHUK.GINHUK. He He offered offered his his followers followers a a new new theorytheory of of space space and and light light solving solving the the states, the “individual case”. 1919 he began managing the Workshop of extensiveextensiveAfter thetasks tasks end of ofof crea militarycreatingting communisma a new new image image (after of of nature naturestudying as as of of the a a flowing newflowing art mass ofmass suprematism of of interbound interbound and the particles,1921)particles, and beginning changing changing of its itsNEP volume, volume, the system colour, colour, of state di dimensions, mensions,Free State weight weightArtistic and andWorkshops, shape shape continuously I continuously and II. The so- control and censorship formed itself inside the called “Vitebsk Renaissance” is connected with andand permanently. permanently. In In order order to to step step beyond beyond the the re regulargular vision, vision, artists artists need need theories, theories, artistic culture. Artists perceived themselves as the works of , the commisar of art methodsfreemethods innovators. and and cognition cognitionThey renewed means means and ofreplaced of the the wholethe whole (1887 andand –harmony. harmony.1985) who Thereorganized The “extensive “extensive the art vision”school vision” into nameplates of the traditional groups (such as “Mir a Public College and invited M. Dobuzhinsky, Iskusstva” (World of Art), “Soyuz Molodezhi” I. Puni, K. Boguslavskaya, L. Lissitzky and (Youth Union), TPHV), created several new large others to teach. artistic schools (schools of Malevich, Matyushin, From November 1919 to the year 1922 a Filonov, Petrov-Vodkin, Tatlin), conflicted with provincial town of Vitebsk became one of the each other, behaved intolerantly towards the ideas centres of European avant-garde, where Malevich of other novators. The basis of all those systems was the chairman of Vitebsk Public College, the – 1610 – March 25, 1920 (the exhibition was held within the framework of XVI exhibition of Painting Department of “Narkompros” under the title “Kazimir Malevich: His Way from Impressionism to Suprematism”). Later, two similar exhibitions were held in 1927, in and Berlin (Fig. 6). In “Unovis” Almanach one can find a tendency Natalya V. Pokrovskaya. Art groups in Russia After 1917 to unite all kinds of art, printing articles on manageing teaching activities.

Fig. 6 Malevich K. Red Cavalry RidingFig. 6 Malevich K. Red Cavalry Riding. The first organization of constructivists was formed in “Inhuk” in the year 1921 (A. Rodchenko, V. Stepanova, V. and G. Stenbergs). Their principles for architecture Professor of the Painting Workshop. He published A. Vesnin, M. Ginzburg. The idea of root somewere books formulated (“On New in Systemstheoretical in works Art”) andby A. transformationVesnin, M. Ginzburg. of the surrounding The idea of medium, root or assistedtransformation in creating ofUNOVIS the surrou (the nding name medium,of the the or the“uniform “unifo scenicrm scenic principle” principle” was manifested was associationmanifested is the in abbreviationthe Associat ion for of “Utverditeli New Architecture, in the “A AssociationSNOVA” (1923 of New– 1932). Architecture, The Novogo Iskusstva” (“The Establishers of New “ASNOVA” (1923 – 1932). The combination of combination of the novator language of architectural shapes and solution of new Arts”), 1920). Along with the mentioned above, the novator language of architectural shapes and social tasks were the catalizer for forming the Association. “ASNOVA” was founded Malevich was preparing his first personal solution of new social tasks were the catalizer exhibitionin 1922, (began leaded in Moscow, by N. Ladov Novembersky, V. 1919), Krinsky for and forming engineer the A. Association. Loleyt (1923 “ASNOVA” – 1928 was whichChairman). was held They only oncalled March themselves 25, 1920 rati (theonalists. founded The members in 1922, of leaded“ASNOVA” by N. group Ladovsky, exhibition was held within the framework of V. Krinsky and engineer A. Loleyt (1923 – 1928 XVI exhibition of Painting Department of Chairman). They called themselves rationalists. “Narkompros” under the title “Kazimir Malevich: The members of “ASNOVA” group worked on His Way from Impressionism to Suprematism”). new types of buildings, searching for a new Later, two similar exhibitions were held in 1927, language of architecture. Their architectural in Warsaw and Berlin (Fig. 6). In “Unovis” projects “…are works of art, so they are Almanach one can find a tendency to unite all perceived emotionally…” (Nazarova 2012:60). kinds of art, printing articles on manageing In January 1922 “Constructivists” exhibition teaching activities. was held “at poets’ café”. The participants of the The first organization of constructivists exhibition (the , Medunetsky) was formed in “Inhuk” in the year 1921 announced their belonging to utilitarism. They (A. Rodchenko, V. Stepanova, V. and were convinced that construction is a way of G. Stenbergs). Their principles for architecture practical organization of elements which is only were formulated in theoretical works by possible in a socially relevant space. In the year – 1611 – Natalya V. Pokrovskaya. Art groups in Russia After 1917

1925 the creative association of constructivitsts and constructions used in industry (Fig. 7 and (“OSA”) was founded. “OSA” (abbreviation for 8). strived to create new art for “modern architects’ association”) united Victor new society. They invented a visual dictionary and Alexander Vesnins, Moisei Ginzburg, Lazar based on abstract geometrical shames and used it Lissitzky and others. Their functional method in painting, furniture, fashion, architecture. was published in “Sovetskaya Arkhitektura” Classification of artists based on their trend magazine (issued until 1930). According to them, ignores the individuality of every art piece. the base of a building is a reinforced concrete Representatives of the 1920s groups strived to carcass imitating industrial shapes and methods of exptress the spirit of the time, but their expression the modern technological processes. Commune- of principles for images and plasticity was houses embody the idea of desurbanism. different. “Soyuz Molodezhi” (1910) fought to Constructivists put the slogans of industrial art restart its work in the year 1917, when in six of into practice. Ideas of constructivism resonate its independent exhibitions all great masters of with the works of representatives of “”, Russian avant-garde displayed their works. Under especially of L. Moholy-Nagy. Constructivism the same “nameplate” the ex-members of “Soyuz is a trend in Russian art of the 1920s which Molodezhi” took part in “the First State Free found its reflection in architecture, decorative Exhibition of Art” at Petrograd Art Palace (1919). and theatre art, posters, books, literature, Later some members of “Soyuz Molodezhi” artistic construction. “Insdustrials” (Lissitzky, (Lebedev, Pashnin and others) leaded by Tatlin Rodchenko, Vesnin, Ekster, Stepanova, Popova) organized the “Association of New Trends” (1921), identified work and art, proved the “necessity” of opened their own exhibition at the Artistic Culture an artist’s work in everyday life, declared objects Museum (1922) and displayed their works at the

Fig.Fig. 7 Fig. 7Stepanova Stepanova 7 Stepanova V. V. Advertising Advertisi V. Advertisi forng sports ng clothes Fig. 8 Stepanova Fig. Fig.8 V. Stepanova Projects 8 Stepanova V. Proj V. Projectsects – 1612 – for sports clothes for sports clothes Classification of artists based on their trend ignores the individuality of every Classification of artists based on their trend ignores the individuality of every art piece. Representatives of the 1920s groups strived to exptress the spirit of the time, art piece. Representatives of the 1920s groups strived to exptress the spirit of the time, but their expression of principles for images and plasticity was different. “Soyuz but their expression of principles for images and plasticity was different. “Soyuz Molodezhi” (1910) fought to restart its work in the year 1917, when in six of its Molodezhi” (1910) fought to restart its work in the year 1917, when in six of its independent exhibitions all great masters of Russian avant-garde displayed their independent exhibitions all great masters of Russian avant-garde displayed their works. Under the same “nameplate” the ex-members of “Soyuz Molodezhi” took part works. Under the same “nameplate” the ex-members of “Soyuz Molodezhi” took part in “the First State Free Exhibition of Art” at Petrograd Art Palace (1919). Later some in “the First State Free Exhibition of Art” at Petrograd Art Palace (1919). Later some members of “Soyuz Molodezhi” (Lebedev, Pashnin and others) leaded by Tatlin members of “Soyuz Molodezhi” (Lebedev, Pashnin and others) leaded by Tatlin organized the “Association of New Trends” (1921), opened their own exhibition at organized the “Association of New Trends” (1921), opened their own exhibition at the Artistic Culture Museum (1922) and displayed their works at the “Exhibition of the Artistic Culture Museum (1922) and displayed their works at the “Exhibition of Paintings by Petrograd Artists of All Trends For the Five-Year Period 1918-1923” Paintings by Petrograd Artists of All Trends For the Five-Year Period 1918-1923” (1923, Petrograd). (1923, Petrograd). Natalya V. Pokrovskaya. Art groups in Russia After 1917

“Exhibition of Paintings by Petrograd Artists of S. Romanovich, poems by V. Khlebnikov All Trends For the Five-Year Period 1918-1923” and B. Pasternak were published. Among the (1923, Petrograd). participants of “Makovets” exhibitions there The embodiment of “resurrection” in the act were V. Chekrygin, N. Chernyshev, V. Pestel, of creation on the base of the idea of resurrecting S. Romanovich, S. Gerasimov, L. Zhegin in flesh, returning all the dead generations (Shekhtel), A. Shevchenko and others (the union (“the fathers”) to life with the power of science, consisted of over 20 people). The manifest of can be found in the work by Nikolay Fedorov 1922 announced the time of light creativity when “Philosophy of the Common Task” (1906 – people need inviolable values, when art revives 1913). In the works by a true fan and follower of in permanent movement and desire to create. Fedorov’s ideas, Vasily Chekrygin, we can extract Later the association split, forming groups “Put the “we” as spiritual connection and the unity of Zhivopisi” (Way of Painting) (1927 – 1930) and “4 fate in the Biblical sense. V. Chekrygin is the Iskusstva” (Four Arts) at Moscow Artists’ Society. most significant artist of “Makovets” association, However, their significance and their output were founded in the year 1921 on the base of the union the understanding of artistic traditions (Russian of artists and poets “Iskusstvo – Zhizn” (Art is frescs and icons) and the specific “Makovets” Life) (1920). The name of the association which realism. Even though they failed to carry out their further became the name of their magazine was tasks, their successes have not lost their meaning. not coincidental: it was the name of the hill on One of the most specific works of that time were which Sergius of Radonezh founded the Trinity “The Ironing Woman” (Fig. 9, 10; 1920, canvas Monastery. In the two issues of “Makovets” and oil, 94x82,5) by Alexander Shevchenko magazine, articles by V. Chekrygin, P. Florensky, (1883-1948).

Fig. 9 Shevchenko A. The Ironing Woman Fig. 10 Shevchenko A. The Ironing Woman Fig. 9 Shevchenko A. The Ironing Woman Fig. 10 Shevchenko A. The Ironing Woman Art groups of the 1920s appeared during– 1613 the – period of relative pluralism in the USSR. Thematical censorship has already formed itself, but the aesthetic one has not (forms of art were not controlled). The co-existance of art groups assumed different types of institutions (from Latin “guidance” on elementary rights). The group which had its institutional policy anticipating the Soviet art of 1930-1980s was the Assosication of Revolutionary Russian Painters, AHRR. The unlucky “itinerants” reoriented their work from commercial enterprises and private buyers to the authorities. Katsman and his group (AHRR) founded the Association under the slogan of “heroic realism” (“myth creation”), with the task to “organize the psyche of the future generations”, appropriation (from Latin “acquisition”, “impropriation”) of painting style of the XIX century. They painted conversation pieces based on the situations of modern life (portrait of time spirit as a task of enlightment, Fig. 11).

Natalya V. Pokrovskaya. Art groups in Russia After 1917

“Fate” painting, “Resurrection” cycle (1922) (portrait of time spirit as a task of enlightment, by Vasily Chekrygin (1897-1922) are inspired by Fig. 11). the ideas of philosopher N.F. Fedorov. He created The portrait genre brought up a new dramatic, exciting, perfect images predicting the hero: a worker, a comissar, a deputy woman. future fate of the humankind and its inavoidable Genre art tells the story of new life, shows the future flights into open space. chronicles of events. The type of historical and Art groups of the 1920s appeared revolutionary painting is formed. Works by during the period of relative pluralism in the AHRR members filled whole museums similar USSR. Thematical censorship has already to museums, but compiled on the formed itself, but the aesthetic one has not (forms thematical, not formal basis. OMAHRR, the of art were not controlled). The co-existance of left wing of young AHRR painters (1926), art groups assumed different types of institutions internationalist and “industrialist”, created (from Latin “guidance” on elementary rights). RAPH (Russian Association of Proletary The group which had its institutional policy Painters) in the year 1931. Such AHRR members anticipating the Soviet art of 1930-1980s was the as A. Arkhipov, F. Bogorodsky, A. Grigoryev, Assosication of Revolutionary Russian Painters, E. Katsman, N. Kotov, S. Malyutin, S. Ryangina, AHRR. The unlucky “itinerants” reoriented their N. Terpsikhorov, B. Yakovlev, B. Baksheev, work from commercial enterprises and private I. Brodsky, B. Bilyanitsky-Birulya, N. Kasatkin, buyers to the authorities. Katsman and his group K. Yuon and others took part in the themed (AHRR) founded the Association under the exhibition. It was financed by the political slogan of “heroic realism” (“myth creation”), administration of the army and trade unions with the task to “organize the psyche of the which existed before the Decree of the Central future generations”, appropriation (from Latin Committee of Russian Communist Party dated “acquisition”, “impropriation”) of painting style April 23, 1932, on unified trade unions. AHRR of the XIX century. They painted conversation included branches in thirty cities consisting of pieces based on the situations of modern life 300-80 members each, and worked in exhibition

Fig. 11 Katsman E. The LaceFig. Makers 11 Katsman of Kalyazin E. The Lace Makers of Kalyazin The portrait genre brought up a new hero:– 1614a worker, – a comissar, a deputy woman. Genre art tells the story of new life, shows the chronicles of events. The type of historical and revolutionary painting is formed. Works by AHRR members filled whole museums similar to modern art museums, but compiled on the thematical, not formal basis. OMAHRR, the left wing of young AHRR painters (1926), internationalist and “industrialist”, created RAPH (Russian Association of Proletary Painters) in the year 1931. Such AHRR members as A. Arkhipov, F. Bogorodsky, A. Grigoryev, E. Katsman, N. Kotov, S. Malyutin, S. Ryangina, N. Terpsikhorov, B. Yakovlev, B. Baksheev, I. Brodsky, B. Bilyanitsky-Birulya, N. Kasatkin, K. Yuon and others took part in the themed exhibition. It was financed by the political administration of the army and trade unions which existed before the Decree of the Central Committee of Russian Communist Party dated April 23, 1932, on unified trade unions. AHRR included branches in thirty cities consisting of 300-80 members Natalya V. Pokrovskaya. Art groups in Russia After 1917

organization (11 themed exhibitions), publishing, V. Favorsky (illustrations for “Ruth” book, 1925; “production” activities. “October 1917”, 1928; “F.M. Dostoevsky”, 1929 – “4 Iskusstva” (Four Arts) group of painters, all xylogrpahies), V. Bekhteev, A. Kravchenko, graphic artists, sculptors and architects included P. Miturich, sculptors: A. Matveev, V. Mukhina, over 70 people from Moscow and Leningrad I. Chaykov, architects V. Shchuko, A. Shchusev (1925-1932) who had different art positions: and others. followers of Malevich, Klyun, Lissitzky came OST association (Easel Painter Society) from “Golubaya Roza” (“The Blue Rose”) and mostly consisted of students of Shterenberg “Mir Iskusstva” (“The World of Art”). and Favorsky (1925-1932), members of groups The chairman of the association Pavel “Obyedinenie Trekh” (The Union of Three) Kuznetsov (1878-1968) in cooperation with (A. Goncharov, A. Deyneka, Yu. Pimenov), E. Bebutova wrote that it was essential to enroot “projectionists” (formed in 1922: S. Luchishkin, plastic arts into life, letting them take part in S. Nikritin, K. Redko, N. Tryasky, A. Tyshler), common construction with use, refining and “concretists” (separated from “projectionists” in spiritualizing people, bringing them the joy 1924, P. Williams, K. Vyalov, V. Lyushin, Yu. of aesthetic perception of the world (Fig. 12, Merkulov). OST organized four independent 13). The association of four plastic arts came exhibitions (over 30 participants). During all the up with a complex program: 1) artistic quality years of the association existance the chairman each,each,of and andworks; worked worked 2) traditions in in exhibition exhibition of painting organiza organiza realism;tiontion (11 (11 function themed themed had exhibitions), exhibitions), been performed publishing, publishing, by D. Shterenberg, 3) values of French school (from the declaration). even in the period of split (1931) and creation of “production”“production” activities.activities. The association members were: K. Petrov- a new addicional association called “Izobrigada” Vodkin“4“4 Iskusstva” Iskusstva”(“Portrain of (Four (Four Anna Arts) Arts)Akhmatova”, group group of of1922), pain pain ters,ters,(1931), graphic graphic when artista artist parts,s, of sculptors sculptorsartists left and andfor “October” architectsarchitectsM. Saryan includedincluded “Street. overover Passers 7070 peopleby”,people 1929), fromfrom N. MoscowUlyanov,Moscow andand(organized LeningradLeningrad in (1925-1932)(1925-1932) 1930). The Charter whowho hadhad of OST was M. Akselrod, K. Istomin, graphic artists: registered in September 1929. In OST platform we differentdifferent artart positions:positions: followersfollowers ofof MaleviMalevich,ch, Klyun,Klyun, LissitzkyLissitzky camecame fromfrom “Golubaya“Golubaya Roza”Roza” (“The(“The BlueBlue Rose”)Rose”) andand “Mir“Mir Iskusstva”Iskusstva” (“The(“The WorldWorld ofof Art”).Art”).

Fig. Fig.Fig. 12 12Shterenberg12 ShteShterenbergrenberg D. The D.D. Old TheThe Man OldOld ManMan Fig. 13 Aunt Sasha Fig.Fig. 1313 AuntAunt SashaSasha TheThe chairmanchairman ofof thethe associaassociationtion PavelPavel KuznetsovKuznetsov– 1615 (1878-196(1878-196 – 8)8) inin cooperationcooperation withwith E.E. BebutovaBebutova wrotewrote thatthat itit waswas esseessentialntial toto enrootenroot plasticplastic artsarts intointo life,life, lettingletting themthem taketake partpart in in common common construction construction with with use, use, re refiningfining and and spiritualizing spiritualizing people, people, bringing bringing themthem thethe joyjoy ofof aestheticaesthetic perperceptionception ofof thethe worldworld (Fig.(Fig. 12,12, 1313).). TheThe associationassociation ofof fourfour plasticplastic artsarts camecame upup withwith aa cocomplexmplex program:program: 1)1) artisticartistic qualityquality ofof works;works; 2)2) traditionstraditions ofof paintingpainting realism;realism; 3)3) valuesvalues ofof FrenchFrench schoolschool (from(from thethe declaradeclaration).tion). TheThe associationassociation membersmembers were:were: K.K. Petrov-VodkinPetrov-Vodkin (“Portrain(“Portrain ofof AnnaAnna Akhmatova”,Akhmatova”, 1922),1922), M.M. SaryanSaryan “Street.“Street. PassersPassers by”,by”, 1929),1929), N.N. Ulyanov,Ulyanov, M.M. Akselrod,Akselrod, K.K. Istomin,Istomin, graphicgraphic artists:artists: V.V. FavorskyFavorsky (illustrations (illustrations for for “Ruth” “Ruth” book book,, 1925; 1925; “October “October 1917”, 1917”, 1928; 1928; “F.M. “F.M. Natalya V. Pokrovskaya. Art groups in Russia After 1917 can outline the following provisions: a) avoiding 1928; V. Malagis “Tractorist Girl” (1932); abstractiveness and “itinerantism” in the painting P. Osolodnikov “The Gas ”, “Workers” plot; b) avoiding “draftism”, amateurism; c) (1929), D. Zagoskin “The Seamstress” (1929), avoiding pseudosesannism asa style destructing A. Pakhomov “The Reaper” (1928) and others. shapes, drawing and colours; c) revolutionary “Krug Khudozhnikov” organized three and clarity in chosing the plot; d) exhibitions in the rooms of Russian Museum aspiration for absolute mastership, completeness; (1927, 1928, 1929), at Kiev Art Gallery (1930), at e) orientation on modern young people. The Houses of Culture (Clubs). The plans of “Krug” main themes of OST (industrialization, sports, were ambitious: organize education courses, urban life) required rational organization of the open laboratories, museums, libraries, organize painting. gatherings, grant awards and publish their own “Krug Khudozhnikov” (Circle of Artists) works. organized in 1926 (formed in 1925, in Leningrad) “Krug” based its work on the realistic united the followers of A. Karev, A. Savinov, method, made up a new term: “quintformation” K. Petrov-Vodkin, A. Matveev, mostly the alumni (quintessence) of shape, standing for maximum of Higher Art and Technical Institute of 1925. It thematical saturation of a shape. Vladimir consisted of over 40 members. The association Malagis (1902-1974) comes up with a strict and chairman was V. Pakulin (Fig. 14). In 1929 the determined image of a Soviet peasant woman. group split; as a result, a part of the painters “The Reaper” painting (1926-1927) by Vyacheslav left for AHR and “October”. The association Pakulin (1900-1951) bore the flagship character. declaration is remarkable for the strategy OMH (“Moscow Artists’ Society” founded aimed for creation the “style of the epoch”, in 1927) consisted mostly of the members of against literariness, subjectivism, amateurism, “Bubnovy Valet” (Jack of Diamonds), participants hackwork: A. Samokhvalov “Worker Woman”, of “Moskovskie Zhivopistsy” (Moscow Painters) Osolodnikov “The Gas Mask”, “Workers” (1929), D. Zagoskin “The Seamstress” (1929), A. Pakhomov “The Reaper” (1928) and others.

Fig. 14 Pakulin V. The Reaper Fig. 14 Pakulin V. The Reaper – 1616 – “Krug Khudozhnikov” organized three exhibitions in the rooms of Russian Museum (1927, 1928, 1929), at Kiev Art Gallery (1930), at Houses of Culture (Clubs). The plans of “Krug” were ambitious: organize education courses, open laboratories, museums, libraries, organize gatherings, grant awards and publish their own works. “Krug” based its work on the realistic method, made up a new term: “quintformation” (quintessence) of shape, standing for maximum thematical saturation of a shape. Vladimir Malagis (1902-1974) comes up with a strict and determined image of a Soviet peasant woman. “The Reaper” painting (1926-1927) by Vyacheslav Pakulin (1900-1951) bore the flagship character. Natalya V. Pokrovskaya. Art groups in Russia After 1917

(since 1924), “Bytie” (since 1921), “Makovets”. G. Ryazhsky, A. Gluskin, A. Nyurenberg, who They followed the principles of “sesannism”, were students of Tatlin, Malevich, Ekster. The preferring landscapes and still life. The idea was the “renaissance”, aspiration to “acquire chairman was A. Lentulov, his deputy was real art through objective and realistic painting”. S. Gerasimov, members (around 70 people) were One exhibition held in 1922 in the Central House I. Grabar, N. Grigoryev, A. Drevin, A. Kuprin, of Education Workers in Moscow has something I. Mashkov, A. Osmerkin, V. Rozhdestvensky, in common with the satirical prose of the twenties R. Falk, N. Cernyshev, N. Krymov and others. (I. Ilf and E. Petrov). They understood painting as a tool for active (1883-1941) organized a group reformation of life (Fig. 15, 16). called MAI (“Masters of Analytic Art”) (1925- OMH is a larger and longer lasting association 1932, inofficially – till 1941). In different years the based on subtle and temperamental painting members came and went, and their total amount culture, on high professionalism, artistic ideas. counted up to 70 people: T. Glebova, A. Poret, The masters of OMH perceive and reproduce the M. Tsybasov, P. Zaltsman, E. Kibrik, B. Gurvich, modern time through the means of painting; they S. Zaklikovskaya, P. Kondratyev, V. Sushmo- conveyOMH theOMH feeling (“Moscow (“Moscow of today, Artists’ revealing Artists’ Society” their Society” deep founde foundeSamuyllo.d ind 1927) in MAI 1927) group consisted consisted followed mostly the mostly ideology of theof the of and sincere feelings. In their works one can find analytic art and the principle of “completeness” membersmembers of of“Bubnovy “Bubnovy Valet” Valet” (Jack (Jack of ofDi amonds), Diamonds), participants participants of of“Moskovskie “Moskovskie true dramaturgy, painful feelings, reflections on of the image. In the House of Press they organized Zhivopistsy”theZhivopistsy” present time. (Moscow (Moscow Pain Painters)ters) (since (since 1924), 1924),an exhibition “Byti “Bytie” e” (since of panel(since 1921), paintings 1921), “Makovets”. and “Makovets”. sculpture TheyTheyHigh followed followed artistic the culture, theprinciples principles of “sesannism”,of traditions “sesannism”, (1927),preferring preferring made landscapes scenery landscapes for andpermormance and still still life. life. onThe “The The and acute social irony are specific for NOZH Government Inspector” by N. Gogol (1927), chairmanchairman was was A. A. Lentulov, Lentulov, his his deputy deputy wa s wa S.s S.Gerasimov, Gerasimov, members members (around (around 70 70 society (New Society of Painters, abbreviation created a cycle for Finnish and Karelian epos people)is literallypeople) were traslated were I. Grabar, I.as “The Grabar, Knife”), N. N. Grigoryev, consisting Grigoryev, A. “Kalevala”A. Drevin, Drevin, A. (1933). A. Kuprin KuprinFilonov, I. , opposed Mashkov, I. Mashkov, himself A. toA. Osmerkin,of Osmerkin, S. Adlivankin, V. Rozhdestvensky,V. Rozhdestvensky, N. Perutsky, R. N. Falk,R. Popova, Falk, N. Cernyshev,N.cubism, Cernyshev, cubofuturism N. KrymovN. Krymov and constructivism,and and others. others. They but They his understoodunderstood painting painting as aas tool a tool for foractiv active reformatione reformation of lifeof life (Fig. (Fig. 15, 15,16). 16).

Fig.Fig.Fig. 1515 Osmerkin Osmerkin15 Osmerkin A. Still A. LifeSA.till S tillLife Life Fig. 16 Osmerkin Fig. Fig. 16 A. StillOsmerkin16 OsmerkinLife A. StillA. Still Life Life – 1617 – OMHOMH is a is larger a larger and and longer longer lasting lasting asso associationciation based based on onsubtle subtle and and temperamental temperamental paintingpainting culture, culture, on highon high professionalism, professionalism, artistic artistic ideas. ideas. The The masters masters of OMHof OMH perceive perceive andand reproduce reproduce the the modern modern time ti me through through the the means means of ofpainting; painting; they they convey convey the the feelingfeeling of today,of today, revealing revealing their th eirdeep deep and and sincere sincere feelings. feelings. In theirIn their works works one one can can find find truetrue dramaturgy, dramaturgy, painful painful feelings feelings, reflections, reflections on theon thepresent present time. time. HighHigh artistic artistic culture, culture, primitivism primitivism traditi traditionsons and and acute acute social social irony irony are arespecific specific for forNOZH NOZH society society (New (New Society Society of Painters,of Painters, abbreviation abbreviation is literally is literally traslated traslated as “Theas “The Knife”), consisting of S. Adlivankin, N. Perutsky, N. Popova, G. Ryazhsky, A. Gluskin, A. Nyurenberg, who were students of Tatlin, Malevich, Ekster. The idea was the “renaissance”, aspiration to “acquire real art through objective and realistic painting”. One exhibition held in 1922 in the Central House of Education Workers in Moscow has something in common with the satirical prose of the twenties (I. Ilf and Natalya V. Pokrovskaya. Art groups in Russia After 1917 E. Petrov).

Fig. 17. Adlivankin S. The Tram Fig. 17. Adlivankin S. The Tram Pavel Filonov (1883-1941) organized a group called MAI (“Masters of Analytic Art”) (1925-1932, inofficially – till 1941). In different years the members primitivism and are deeply bound brings up a new paradigm (ideals and senses) of came and went, and their total amount counted up to 70 people: T. Glebova, A. Poret, to the art of the first half of the (in 1911- being a human, a revolutionary and a reformer. M. Tsybasov, P. Zaltsman, E. Kibrik, B. Gurvich, S. Zaklikovskaya, P. Kondratyev, 1912 he made a trip around Palestine, France, Socialistic reality is the main condition of life for Italy). TheV. magic Sushmo-Samuyllo. attractiveness of MAIpaintings group and followed socialist the realism. ideology We of would analytic like artto underline and the the drawings, principle suffered of and “completeness” created in tortures of the by image. uniqueness In the House of the of studied Press theyperiod. organized 1917 – 1950 an is P. Filonov, exhibitionan ascet, unmercenary, of panel paintings maximalist, and sculpture is significant (1927), made time scenery for Russian for permormance art. For the on rise of stunning. “The Government Inspector” by N. Gogolnational (1927), art created of the XXI a cycle century for Finnish it is especially and History of Russian art after 1917 (Soviet significant to realize the fruitfulness of interaction Karelian epos “Kalevala” (1933). Filonov opposed himself to cubism, cubofuturism art) is included into the general stream of between all the stages of Russian art development. world artistic culture. Many phenomena of The history of Russian art of the XX century is world artistic practice make their impact on the now “at the core” of the modern artistic stream. evolution of Russian art after 1917. Frequent Radical judgments here are not acceptable as they change of styles is a stimulus for Russian art. Its can be wrong or imprudent. Russian (Soviet) art high professionalism still remains the measure fits in the general cultural process, obeying the and the criterion for pieces of art. Daring artistic coordinate system. It seems like Russian creative campaigns (projects, experiments) of art of this certain time will bring a lot of aesthetic avant-gardists become classics. Socialist realism pleasure to future artists.

References 1. Avangard, ostanovlennyy na begu. Kovtun E. F., Babanazarova M. M., Gazieva E. D. [Avant- garde, stopped while running] St. Petersburg, Aurora, 1989. 288 p. 2. Kamenskii A. Romanticheskiy montazh [Romantic installation]. Moscow, Soviet artist, 1989. 336 p. 3. Kovtun E. F. Russkiy avangard 1920-kh-1930-kh godov [Russian avant-garde of the 1920s-1930s]. St. Petersburg, Aurora, 1996. 288 p. – 1618 – Natalya V. Pokrovskaya. Art groups in Russia After 1917

4. Kostin V. I. Sredi khudozhnikov [Among artists]. Moscow, Soviet artist, 1986. 173 p. 5. Lebedianskii M.S. Sovetskaia russkaia zhivopis’ pervogo oktiabr’skogo desiatiletiia [Soviet Russian painting of first October decade]. St. Petersburg, Artist RSFSR, 1977. 244 p. 6. Nazarova M.P. (2012). Arkhitekturnye pamiatniki v structure kul’turno-istoricheskogo naslediia [Architectural monuments in the structure of the culture-historical heritage] Voprosy kul’turologii [The culturology`s issues], (6), 60-64. 7. Sarab’ianov A. D. Neizvestnyy Russkiy Avangard v muzeiakh i chastnykh sobraniiakh [Unknown Russian avant-garde in museums and private collections]. Moscow, Soviet artist, 1992. 349 p. 8. Sovetskoe iskusstvo 20-30-kh godov [Soviet art of the 1920s-30s]. St. Petersburg, Art, 1988. 360 p. 9. Efros A. Mastera raznykh epokh [Masters of different ages]. Moscow, Art, 1979. 336 p.

Художественные группировки России после 1917 года

Н.В. Покровская Красноярский государственный художественный институт Россия, 660017, Красноярск, пр. Мира, 98

Основная цель данной статьи – рассмотреть художественные группировки России после 1917 года, включенные в единый поток мировой художественной культуры. Работа включает анализ художественных произведений русского советского искусства XX века, общий обзор культуры и искусства в целом без разграничения вопросов философии, эстетики, литературы, истории искусства, но во взаимосвязи с художественной практикой. В основной части статьи при помощи сравнительного анализа, исторического, обзорного метода подробно изучены такие объединения художников, как «ОБМОХУ», «Уновис», «Сегодня», «Детгиз», «МХК», «ИНХУК», «Зорвед», «АСНОВА», «ОСА», «Маковец», «АХРР», «4 искусства», «ОСТ», «Круг художников», «НОЖ», «МАИ». Даны их основные участники, председатели, постулаты, идеи, теоретические платформы, а также названия и места проведения основных художественных выставок. В своей совокупности исследование воссоздает одну из граней художественной жизни страны на коротком, но очень насыщенном и бурном отрезке времени, которая оказала стимулирующее значение на отечественное искусство. Его высокий профессионализм остается мерой и критерием художественных произведений. Данная статья предназначена для студентов художественного вуза академических и прикладных специальностей. Ключевые слова: художественные группировки, советское искусство, художественные платформы, художественные выставки, авангардное и традиционное искусство.