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Kisah Pilu Realisme Sosialis
Kisah Pilu Realisme Sosialis Anna Sungkar [email protected] Keywords: Realisme Sosialis, Russian Avant-garde, Stalin, Zhdanov, Lenin, Khrushchev, Peredvizhniki. Maxim Gorky, Repin, Brodsky, Stakhanovite. Abstrak Pada tahun 1934, Realisme Sosialis dinyatakan sebagai satu-satunya gaya seni yang diakui. Aliran seni lain seperti seni lukis abstrak yang diciptakan kelompok Russian Avant-garde, harus dilenyapkan. Karya-karya abstrak seperti itu dianggap elitis dan tidak menggambarkan kenyataan hidup. Sebaliknya, doktrin Realisme Sosialis digunakan sebagai alat propaganda Pemerintah Komunis yang baru berkuasa. Anna Sungkar Lahir di Jakarta, 5 Februari 1960. Adalah seorang perupa, pengamat seni dan Doktor lulusan Institut Seni Indonesia Surakarta. 1. Pendahuluan Andrei Zhdanov selalu mengatur kumis tebalnya tetap rapi. Dengan rambut belah pinggir, di usia yang 38 tahun itu, tubuhnya terlihat tambun. Balutan seragam warna gelap yang kerap terkancing sampai kerah leher, memperlihatkan sikap tegas tanpa kompromi. Zhdanov adalah seorang pemimpin tentara Uni Soviet yang dihormati selama Perang Dunia II. Sepanjang tahun 1930-an dan 1940-an, ia merupakan seorang tokoh terkemuka dalam pemerintahan Uni Soviet. Sebelum perang, Zhdanov mendapatkan bintang kesetiaan Stalin, yang menugaskannya untuk membangun kontrol politik atas seniman dan intelektual. Setelah perang dia ditugaskan kembali ke bidang ini. Pada tahun 1934, Zhdanov mengadakan Kongres Pengarang Soviet dan dengan bantuan penulis Maxim Gorky, ia mendeklarasikan doktrin "realisme sosialis" dalam pidatonya di Kongres tersebut. 1 Gambar 1 - Berdiri dari kiri ke kanan adalah Andrei Zhdanov, Klim Voroshilov, Joseph Stalin dan Otto Kuusinen; Vyacheslav Molotov duduk (1939). 2. Andrei Zhdanov Mendefinisikan Realisme Sosialis (1934) Pagi itu, Andrei Zhdanov (1896–1948) berpidato di depan seluruh pengarang dan seniman Uni Soviet, dan mulai saat itu doktrin Zhdanov menjadi satu-satunya model yang dapat diterima untuk penulis Soviet: “Kepada semua para penulis Uni Soviet …. -
Soviet Diy: Samizdat & Hand-Made Books
www.bookvica.com SOVIET DIY: SAMIZDAT & HAND-MADE BOOKS. RECENT ACQUSITIONS 2017 F O R E W O R D Dear friends, Please welcome our latest venture - the October catalogue of 2017. We are always in search for interesting cultural topics to shine the light on, and this time we decided to put together a collection of books made by amateurs and readers to spread the texts that they believed should have been distributed. Soviet State put a great pressure on its citizens, censoring the unwanted content and blocking the books that mattered to people. But in the meantime the process of alternative distribution of the texts was going on. We gathered some of samizdat books, manuscripts, hand-made books to show what was created by ordinary people. Sex manuals, rock’n’roll encyclopedias, cocktail guides, banned literature and unpublished stories by children - all that was hard to find in a Soviet bookshop and hence it makes an interesting reading. Along with this selection you can review our latest acquisitions: we continue to explore the world of pre-WWII architecture with a selection of books containing important theory, unfinished projects and analysis of classic buildings of its time like Lenin’s mausoleum. Two other categories are dedicated to art exhibitions catalogues and books on cinema in 1920s. We are adding one more experimental section this time: the books in the languages of national minorities of USSR. In 1930s the language reforms were going on across the union and as a result some books were created, sometimes in scripts that today no-one is able to read, because they existed only for a short period of time. -
The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917)
University of Alberta The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917) by Hanna Chuchvaha A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Modern Languages and Cultural Studies Art and Design ©Hanna Chuchvaha Fall 2012 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. To my father, Anatolii Sviridenok, a devoted Academician for 50 years ABSTRACT This interdisciplinary dissertation explores the World of Art (Mir Iskusstva, 1899- 1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909- 1917), three art periodicals that became symbols of the print revival and Europeanization in late Imperial Russia. Preoccupied with high quality art reproduction and graphic design, these journals were conceived and executed as art objects and examples of fine book craftsmanship, concerned with the physical form and appearance of the periodical as such. Their publication advanced Russian book art and stimulated the development of graphic design, giving it a status comparable to that of painting or sculpture. -
The Peredvizhniki Pioneers of Russian Painting
Inessa Kouteinikova exhibition review of The Peredvizhniki Pioneers of Russian Painting Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Inessa Kouteinikova, exhibition review of “The Peredvizhniki Pioneers of Russian Painting,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc- artworldwide.org/autumn12/kouteinikova-reviews-the-peredvizhniki. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Kouteinikova: The Peredvizhniki Pioneers of Russian Painting Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) The Peredvizhniki: Pioneers of Russian Painting The National Museum, Stockholm Sweden September 29, 2011 – January 22, 2012 Kunstsammlung Chemnitz, Chemnitz, Germany February 26, 2012 – May 28, 2012 Catalogue: The Peredvizhniki: Pioneers of Russian Painting. Edited by David Jackson and Per Hedström. Stockholm: Nationalmuseum and Elanders Falth & Hassler, Varnamo 2011. 303 pp; color illustrations. $89.95 (hardcover) ISBN: 9789171008312 (English) ISBN: 9789171008305 (Swedish) On November 9, 1863 art students protested against the subject prescribed for the annual Gold Medal painting competition at the Imperial Art Academy in St Petersburg, Russia; as a result, fourteen of the best artists left the school.[1] Among them were Ivan Kramskoy, Konstantin Makovsky, Aleksej Korzukhin, and Nikoaj Shustov. Those who remained behind did so in order to pursue the goal of receiving the Gold Medal, the highest academic award for young artists in imperial Russia. In addition to the medal, the winning recipient was granted an opportunity to study in Italy for up to three years. -
Silver Age Russian Art in Vienna Around 1900
SILVER AGE RUSSIAN ART IN VIENNA AROUND 1900 Lower Belvedere 27 June to 28 September 2014 Boris M. Kustodiev The Family, 1905 Oil on canvas 182.5 x 198 cm © Belvedere, Vienna SILVER AGE RUSSIAN ART IN VIENNA AROUND 1900 The Belvedere’s exhibition Silver Age - Russian Art in Vienna around 1900, showing from 27 June to 28 September 2014, explores Russian art and the cultural links between Russia and Austria in the early twentieth century. The term Silver Age refers to the cultural heyday in Russian literature and the fine arts after 1900 and is considered to be the equivalent of the German term Jugendstil or Art Nouveau. Two exhibitions organized by the Vienna Secession in 1901 and 1908 introduced the Viennese public to contemporary Russian art, which was extremely well received by both critics and collectors. While the first exhibition was dedicated to art in Nordic countries and only had one section on Russia, the second was devoted entirely to modern Russian art. It placed an emphasis on established artists from the group World of Art (Mir Iskusstva), as well as exponents of the young association of artists Blue Rose (Golubaya Roza), the last generation of Russian Art Nouveau. At this 1908 exhibition, three paintings were purchased for the Moderne Galerie (today’s Belvedere), including the important portrait of the Polenov Family by Boris M. Kustodiev that had been previously rejected by the conservative Russian art scene. The exhibition Silver Age will showcase Russian artists whose work could have been seen in Vienna over a hundred years ago. -
Regatul Romaniei
RegatulRomaniei file:///C:/Programele%20Mele/IstorieRomania1/RegatulRomaniei/Regat... Regatul României Visul unirii tuturor românilor sub un singur steag a frământat mințile conducătorilor încă din cele mai vechi timpuri, dar alianțele militare și interesele de ordin comercial nu au fost în favoarea simplificării relațiilor dintre diferitele formațiuni statale. În vechime, țările românești au negociat protecția celor două mari imperii ale romanilor, apoi începând cu secolul al XIII-lea au întreținut legături de prietenie și ajutor mutual cu Polonia și Lituania. Din secolul al XV-lea, ca state vasale Imperiului Otoman dar sub protecția directă a Hanatului Crimeei, s-a pus problema formării unui eyalat turcesc comun. Proiectul a fost însă refuzat cu dârzenie, ca urmare a divergențelor de ordin religios. Ca o soluție de compromis, sultanii au permis independența religioasă a celor trei principate, în schimbul dependenței economice. Situația de criză a intervenit o dată cu revoluția și apoi războiul de independență purtat de greci și sârbi. Sub aripa ocrotitoare a Bisericii Ortodoxe Răsăritene, creștinii din toate țările Balcanice au ridicat la început glasul, apoi armele, cerând vehement ieșirea din situația de compromis religios. Ca rezultat, boierii și dragomanii greci au fost maziliți, iar mănăstirile filiale ale celor de la Muntele Athos au fost secularizate. În urma grecilor au rămas nenumăratele lor rude născute din alianțe cu casele boierești autohtone, practic aproape toată crema boierimii. Pentru a umple vidul administrativ rămas s-a hotărât instituirea unei locotenențe domnești, ajutată de o Adunare Constituantă a fruntașilor celor două țări. În ambele principate, toate sufragiile au fost întrunite în anul 1859 de Colonelul Alexandru Ioan Cuza, cu funcția de Ministru de Război, fost deputat de Galați și fost șef al Miliției de la Dunărea de Jos. -
The Russian Connection in Singapore's Local Art Identity
The Russian Connection in Singapore’s Local Art Identity David Low Kok Kiat Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 4, Number 2, October 2020, pp. 91-159 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2020.0008 For additional information about this article https://muse.jhu.edu/article/770698 [ Access provided at 25 Sep 2021 19:42 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. The Russian Connection in Singapore’s Local Art Identity DAVID LOW KOK KIAT1 Abstract The uncritical acceptance of the Nanyang art discourse as central to the discussion of Singapore’s local art identity obfuscates its historical emergence from a richly pluralistic artistic milieu which existed from the 1920s to the 1940s. This article illustrates the diversity of artistic practice in Singapore during this period, through a case study of three Russian artists in Singapore: Anatole Shister, Vasily Zasipkin and Vladimir Tretchikoff. Examining their migration stories, as well as studying their art and their involvement in the local art world, the article reveals how global upheavals of this period informed Singapore’s artistic milieu, contributing to a cosmopolitan environment that allowed for interaction between artists from around the world. In Singapore, artists from different backgrounds and with diver- gent motives shared in the efforts of depicting local life, searching for local colour and painting the region. Introduction In Singapore, notable appraisals of works by Russian artists were given at the Fight for Freedom exhibition of 1941, held at the Victoria Memorial Hall; an exhibition wherein both European and Chinese artists who arrived in Singapore between the 1920s and 1940s were seen displaying works that Southeast of Now Vol. -
Leonid Shishkin Gallery Галерея Леонида Шишкина
Галерея Леонида Шишкина Leonid Shishkin Gallery основана в 1989 году since 1989 2010 2010 ИЮНЯ Аукцион «РУССКОЕ ИСКУССТВО» • 24 четверг, 24 июня 2010 АУКЦИОН № 91 • ГАЛЕРЕЯ ЛЕОНИДА ШИШКИНА Auction "RUSSIAN ART" Auction in Thursday, June 24, 2010 Radisson Royal Hotel, Moscow (Ukraine Hotel) www.shishkin-gallery.ru +7 495 694 35 10 Leonid Shishkin Gallery since 1989 АУКЦИОН № 91 Для заочного участия или покупки на аукционе по телефону свяжитесь заранее с менеджерами галереи Cледующие аукционы: 15 июля 2010, четверг 19.30 в помещении Галереи на Неглинной, 29 7 октября 2010, четверг 19.30 Гостиница «Рэдиссон Ройал» («Украина») auction # 91 For absentee bids or telephone bids, please contact the gallery managers in advance Next auCtioNs: July 15, 2010, thursday 19.30 at the Gallery's premises–neglinnaia, 29 october 7, 2010, thursday 19.30 Radisson Royal Hotel, Moscow (ukraina Hotel) Галерея Леонида Шишкина член Международной конфе Основана в 1989 году дерации антикваров www.shishkingallery.ru и артдилеров СНГ и России Од на из пер вых ча ст ных га ле рей Мос к вы one of the oldest and most respectable АУКЦИОН №91 с без уп реч ной 20лет ней ре пу та ци ей, спе galleries with 20 years of reputable ци а ли зи ру ет ся на рус с кой жи во пи си excellence. Specializes in Russian art of лоты 1–110 XX ве ка. the 20th century. С 2000 го да про во дит р е гу ляр ные аук ци о ны. Holds regular auctions of Soviet painting starting from 2000. Экс пер ти за, об рам ле ние, вы воз за ру беж, консуль та ции по во про сам ин ве с ти ро ва ния Expertise, framing, delivery worldwide, АУКЦИОН ПРедаукционнаЯ выСтАвКА в ис кус ство. -
Russian Art of the Avant-Garde
Russian Art of the Avant-Garde THE DOCUMENTS OF 20TH-CENTURY ART ROBERT MOTHERWELL, General Editor BERNARD KARPEL, Documentary Editor ARTHUR A. COHEN Managing Editor Russian Art of the Avant-Garde Theory and Criticism 1902-1934 Edited and Translated by John E. Bowlt Printed in U.S.A. Acknowledgments: Harvard University Press and Lund Humphries Publishers Ltd.: "Realistic Manifesto" from Gabo by Naum Gabo. Copyright © 1957 by Lund Humphries. Reprinted by permission. Thames and Hudson Ltd.: "Suprematism in World Reconstruction, 1920" by El Lissitsky. This collection of published statements by Russian artists and critics is in- tended to fill a considerable gap in our general knowledge of the ideas and theories peculiar to modernist Russian art, particularly within the context of painting. Although monographs that present the general chronological framework of the Russian avant-garde are available, most observers have comparatively little idea of the principal theoretical intentions of such move- ments as symbolism, neoprimitivism, rayonism, and constructivism. In gen- eral, the aim of this volume is to present an account of the Russian avant- garde by artists themselves in as lucid and as balanced a way as possible. While most of the essays of Vasilii Kandinsky and Kazimir Malevich have already been translated into English, the statements of Mikhail Larionov, Natalya Goncharova, and such little-known but vital figures as Vladimir Markov and Aleksandr Shevchenko have remained inaccessible to the wider public either in Russian or in English. A similar situation has prevailed with regard to the Revolutionary period, when such eminent critics and artists as Anatolii Lunacharsky, Nikolai Punin, and David Shterenberg were in the forefront of artistic ideas. -
A Ukrainian Peasant Girl
Vladimir Egorovich Makovsky (Moscow 1846 - St. Petersburg 1920) A Ukrainian Peasant Girl signed and indistinctly inscribed in Cyrillic and dated ‘1902/14 Aug/...’ (centre right) pencil, charcoal and watercolour on paper laid on board 34.2 x 25.3 cm (13½ x 10 in) This beautifully executed watercolour by Vladimir Egorovich Makovsky fits in thematically with the numerous sketches he drew of pastoral life during his summer holidays in Poltova in the Ukraine. Most of his work from Poltova, however, dates to the 1880s, and this particular work on paper was executed some years later in 1902, during a period in which Makovsky painted a series dedicated to workers of the Volga region. As with his work from Poltova, A Ukrainian Peasant Girl marks a focus on art of a traditional and real Russia. The portrait was executed during a time when artists were embracing the vibrancy of Russia’s cultural heritage and its people. They were turning away from Western ideology, and focusing instead on the magnificence of Russian culture as found in the lives of peasants. Though a far cry from his depictions of harsh social realities, such as The Benefactor (1874) and The 125 Kensington Church Street, London W8 7LP United Kingdom www.sphinxfineart.com Telephone +44(0)20 7313 8040 Fax: +44 (0)20 7229 3259 VAT registration no 926342623 Registered in England no 06308827 Released Prisoner (1882), this superb watercolour by Makovsky remains true to his reputation as an observer of human life. Makovsky’s oeuvre illustrate his extensive understanding of different social classes from dignitaries to the more humble, such as the figure portrayed here. -
O Ocaso De Outubro
O ocaso de Outubro: o construtivismo russo, a Oposição de Esquerda e a reestruturação do modo de vida Thyago Marão Villela O ocaso de Outubro: o construtivismo russo, a Oposição de Esquerda e a reestruturação do modo de vida dissertação de mestrado apresentada ao programa de pós-graduação em Artes Visuais, área de concentração “teoria, ensino e aprendizagem da arte”, linha de pesquisa “história, crítica e teoria da arte”, da Escola de Comunicações e Artes da Universidade de São Paulo, como exigência parcial para obtenção do título de mestre em artes, sob a orientação do prof. Dr. Luiz Renato Martins. São Paulo, 2014. 2 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, desde que citada a fonte. email: [email protected] 3 nome| Thyago Marão Villela título| O ocaso de Outubro : o construtivismo russo, a Oposição de Esquerda e a reestruturação do modo de vida dissertação apresentada à Escola de Comunicações e Artes da Universidade de São Paulo para obtenção do título de Mestre em Artes Visuais aprovado em banca examinadora Prof. Dr.____________________________ Instituição _______________________________ Julgamento ________________________ Assinatura ________________________________ Prof. Dr.____________________________ Instituição _______________________________ Julgamento ________________________ Assinatura ________________________________ Prof. Dr.____________________________ Instituição _______________________________ Julgamento ________________________ Assinatura ________________________________ 4 agradecimentos a ao orientador Luiz Renato Martins e a todos que contribuíram para a elaboração deste trabalho: Afonso Machado, Alexandra Santos, Ana Sotratto, André Acier, Clara Figueiredo, Francisco Pontes, Gabriel Fardin, Gabriela Salomé, Gustavo Motta, Iuri Tonelo, João de Regina, Júlia Abdalla, Leonardo Coutinho, Mônica Lopes, Natália Mantovan, Pollyana Rosa e Rita Frau. -
In Collaboration with the State Tretyakov Gallery, Moscow Impressionism in Russia Dawn of the Avant-Garde
In collaboration with the State Tretyakov Gallery, Moscow Impressionism in Russia Dawn of the Avant-Garde Exhibition and catalog: Ortrud Westheider and Alla Chilova Edited by Ortrud Westheider, Michael Philipp, and Henning Schaper With contributions by Olga Atroshchenko Rosalind P. Blakesley Maria Kokkori Nicola Kozicharow Miriam Leimer Susanne Strätling Irina Vakar Tatiana Yudenkova PRESTEL Munich · London · New York Lenders State Tretyakov Gallery, Moscow Stedelijk Museum, Amsterdam Private collection, Berlin State Museum of Fine Arts of the Republic of Tatarstan, Kazan Collection of Elsina Khayrova, London Collection of Vladimir Tsarenkov, London Museo Nacional Thyssen-Bornemisza, Madrid Collection of Iveta and Tamaz Manasherov, Moscow ABA Gallery, New York Spelling Style The Russian transliteration in this book follows the system of the Library of Congress. Apart from the bibliographic sections, diacritical symbols have been omitted, and names ending in -ii or -yi have been simplified to -y. In a few cases an exception was made in favor of a more common spelling. Dates with days and months are cited as listed in each individual source. When double dates are indicated, the first refers to the old date of the Julian Calendar, and the second is the date according to the Gregorian Calendar that was introduced in Russia after 1918. Contents 6 Foreword 8 In the Land of Impressionism: Russian Artists’ Travels to France Tatiana Yudenkova 24 Realist Impressions or Impressionist Realities: A Complex Boundary in Russian Art Rosalind P. Blakesley