This association was founded in May 1922 by Moscow artists Pavel Alexandrovich Radimov (chairman), Alexander Vladimirovich Grigoriev and Evgeny Alexandrovich Katsman (secretary). Also at the top of the leaders were Fedor Bogorodsky, Viktor Perelman. They adhered to the realistic direction in painting and were the successors of the Association of the Wanderers. These artists wanted to be understandable to the masses and reflect on their canvases today - the life of peasants, workers, heroes of labor, the exploits of the Red Army, leaders of the revolution.

First exhibitions

Having gathered in the apartment of a prominent artist of pre-revolutionary Russia, Sergei Malyutin, the activists of the new movement approved their Charter. The association quickly moved from words to deeds, and already in 1922 organized three exhibitions. The first was sent to help the starving. By the second, a catalog was released, in which all the main ideas of the group were made public. The entire avant-garde, which the realists declared harmful, rallied furiously and began to oppose the thoughts expressed by Pavel Radimov when he made a report at the first exhibition, which spoke of realism as a reflection of the life of Soviet people. AHRR from the first days of its existence was under the patronage and material support of K.E. Voroshilov - leader of the Red Army. Immediately in 1922, a small team of artists led by P. Radimov went to make sketches and sketches in foundries and factories. Pavel Radimov and his comrades, being present as artists at party congresses, made sketches for portraits of its leaders and leaders. After P. Radimov wrote "The Meeting in the Kremlin" and "Trotsky's Speech at the Second Congress of the Comintern", he and Yevgeny Katsman were given a workshop on the territory of the Kremlin. P. Radimov did not get tired of painting with inspiration portraits of participants in the Third Congress of the Comintern, sketches of party congresses, sketches of the old and new Kremlin. The leaders of the young union immediately set a course for a political order, showing its members in which direction they should work. In the same 1922, one of the founders of the association, Sergei Vasilyevich Malyutin, by the way, it was he who painted our first matryoshka doll, painted one of his best paintings - “Portrait of the writer D.A. Furmanov. It was the hero of the new age. In the portrait we see a noble young and modest man, in whom spiritual and revolutionary principles are combined. His face is open, his eyes look straight, benevolent. They look directly into the soul of the viewer. The writer sits in a calm natural pose with a briefcase on his knees and holding a pencil in his hand. It was as if he had taken a break from his work on the novel for a moment. The background is an overcoat casually thrown over the shoulders. Nothing stands out from the modest palette of the painter. The only thing that attracts the eye, besides a beautiful, intelligent face and hands, is the scarlet ribbon of the Order of the Red Banner. The writer received this award after being wounded at the front. With such examples, the best painters of the AHRR showed everyone what is possible and how it should depict a new person on canvases. Graphic artists, sculptors, painters sought to introduce the common people to the beautiful, who were actively building a new free society. They focused, without lowering the artistic level, precisely on him, and not on a narrow elite circle. Painting, in their opinion, should show everyone our reality in an accessible way - political and industrial construction, successes in agriculture, strengthening the defense capability of Soviet Russia. The viewer at the exhibitions recognized his life, saw how wonderful and good it is, and in the future everything is clear, bright, joyful and amazing.

The growth of the "ahrovites"

The community that merged with the Wanderers quickly grew. Only more than a year has passed, and there were already more than three hundred artists and sculptors in it. It included all those who rejected the avant-garde. These were, for example:

A. Kasatkin, who worked in the genre of psychological landscape.

V. Meshkov, genre painter and portrait painter.

V. Byalynitsky-Birulya, who previously worked on landscapes, and then became interested in the construction of the Azovstal metallurgical plant, changes in agriculture, and the transformation of the North.

A. Arkhipov, who often traveled to the Russian North.

E. The capital, engaged in the restoration of icons.

K.Yuon, a master of landscape, who, having joined the AHRR, created such works as "New Planet", "People", "Red Army Parade", reflecting the significance of the October Revolution.

M. Grekov, who participated in the civil war as part of the Budyonny army, and who wrote Trumpeters of the First Cavalry, Battle of Yegorlyvskaya, Tachanka.

V. Baksheev, who created the paintings "Lenin in Razliv", "Uprising in the rear of the White Flotilla", "Demonstration", "On the Eve of January 9". Even when AHRR ceased to exist, he painted the canvases “Now” and “Before”, “V. I. Lenin and N. K. Krupskaya in the village of Kashino.

Painters who were recognized even before the revolution came to the “Akhrovtsy”: B. Kustodiev, I. Brodsky, F. Malyavin, A. Rylov, E. Lansere, K. Petrov-Vodkin, I. Mashkov.

AHRR imperceptibly "drawn in" small associations, such as "Jack of Diamonds", "New Society of Painters", "Genesis", "Four Arts", "Moscow Painters".

the main task

Their main mission, to put it in a high style, the members of the AHRR considered the creation of genre dense plots on the plots of the heroic revolutionary past, as well as modern paintings depicting the work and life of a Soviet person in realistic forms understandable to everyone. The viewer had to immediately read the main idea from the pictures. In the painting by V. Perelman "Rabkor" the hero is thoughtful and smokes cigarette after cigarette. He chooses words that will reach hearts and souls. The newspaper Pravda, which lies in front of him, has already printed "Lenin Died." What can be added to these mournful words? The whole country was plunged into mourning. And he keeps looking and looking for the necessary words. On the canvas by K. Petrov-Vodkin “The Death of a Commissar”, we look at the vast world through the eyes of a dying man. He is no longer afraid of death. He paves the way for the future. It must be bright and beautiful, otherwise what is this sacrifice for? In the painting by E. Cheptsov “School workers. Retraining of teachers ”displays the moments of disputes and reflections of old gymnasium teachers and new, young ones, eagerly absorbing modern knowledge. The OST group (“Society of Easel Painters”) argued with the AHRR, which also took themes from modern reality, but spoke in a different pictorial language - expressionism. Their cheerful and joyful pictures sang of sports, the life of an urban man, and industrialization. They did not take up the topics of the civil war. Akhrovtsy considered ideology and education as their main task in modern art. The AHRR saw the Oktyabr group, which was a supporter of constructivism, even more of its ideological opponent. The "Akhrovites" waged an uncompromising struggle with her, considering them unreliable in the political sense.

Further development of the Association

Branches of the AHRR began to appear in the regions and republics of the USSR. The first were Leningrad, Kazan, Samara, Saratov, Nizhny Novgorod, Tsaritsyno, Yaroslavl, Astrakhan, Kostroma. By the mid-1920s, it was a powerful organization that dictated its program and demanded unswerving obedience to it. This caused discontent among freedom-loving artists. Some groups, such as the "Jack of Diamonds", AHRR excluded from its ranks as alien petty-bourgeois elements. The young painter Nikolai Terpsikhorov devoted his career to landscape and genre painting. In 1925, at the seventh exhibition, his painting "The First Slogan" attracted attention. In a cold, semi-dark workshop, into which dim morning light pours through a small dormer window, the artist displays the slogan “All power to the Soviets” on a scarlet cloth. The artist's studio is sparsely furnished. We see plaster casts, a “bourgeois stove” that does not heat the room well, a tin kettle and a loaf of bread on the table, a light bulb hanging from the ceiling and wrapped in a simple newspaper instead of a lampshade. These are all signs of the life of those harsh post-war years. A bright slogan bursts in like a fresh wind carrying revolution, which fills the artist's life with new meaning. Later, he will write "The End of Devastation in Transport", conveying his sense of the era, emotionally revealing the theme of revolution and the construction of a new society. In 1930, the venerable and very famous artist Isaac Brodsky painted a picture that immediately became a classic - “Lenin in Smolny”. The artist painted portraits of the leader more than once. By this time, a large-scale canvas “Speech by V.I. Lenin at a rally of workers of the Putilov factory” had already been painted. This time the artist chose a modest color scheme that emphasizes the truthfulness of the image of a real place. This image of Lenin, with all the portrait resemblance, brought the viewer very close to the busy everyday life of the head of state, since it was written almost in full growth. The environment that surrounds him is ascetic and modest. Lenin is deeply immersed in his thoughts and writes something, slightly bent over. Nothing keeps him from work. Silence surrounds him. When this picture appeared, it was followed by numerous reproductions, postcards, leaflets that reproduced this work.

Completion of activities

In 1928, the AHRR congress was held, which made changes to the charter, and also changed the name. The association was renamed the Association of Artists of the Revolution (AHR). The leaders assumed that foreign communist artists, as well as the new artistic youth, would also enter their ranks. The leaders even stopped paying attention to the fact that the artistic language of some members of the association is beginning to diverge from realism. Gradually, the association began to be "torn apart" by contradictions. For many artists, the works were very far from the classics of the AHR. There was no single stylistic direction. Many painters, working in Central Asia, were only nominally considered members of the Association and did not even exhibit their works at exhibitions. All this did not contribute to unity and strengthening. In 1932, a decree of the Central Committee of the All-Union Communist Party of Bolsheviks disbanded all art associations, including the AHR. The principles developed by this organization formed the basis for the creation of the Union of Artists of the USSR.

Tatyana Piksanova

In the fire and roar of the Civil War, the old life was destroyed. The workers, peasants and the intelligentsia that accepted the revolution had to build a new world, and this required a huge effort of human strength. Art played one of the important roles in this struggle for a new life. The formation of a multinational state (1922) created a precedent, unprecedented in the world, for the formation of a multinational culture, which was conceived in the future as an international revolutionary culture of the new world (the definition of "socialist in content and national in form" - the fruit of "socialist realism" of Stalin's time - was yet to come ). 1920s - one of those, as we have seen, periods in the history of Soviet art, when the search for their own paths had just begun. This is the time of existence of various groups with their platforms, manifestos, system of expressive means.

Association of Artists of the Revolution

An organization that openly, programmatically stood on revolutionary positions, enjoyed the official support of the state, AHRR ( Association of Artists of Revolutionary Russia, since 1928 AHR - Association of Artists of the Revolution) arose in 1922 on the basis of the Association of Traveling Art Exhibitions, the Association for the Study of Modern Revolutionary Life, it also included some members of the Union of Russian Artists. In the declaration of the AHRR, it was declared the civic duty of the master "artistic and documentary capture of the greatest moment of history in its revolutionary outburst." Indeed, the members of the association sought to capture the life and life of workers, peasants, and Red Army soldiers "artistically and documentarily", as evidenced by the titles of their exhibitions: "Life and Life of Workers" (1922), "Life and Life of the Red Army" (1923), " Life and life of the peoples of the USSR "(1926), etc. AHRR put forward the slogan of "heroic realism" as the foundation for the future of world art. "Ahrrovtsy", as a rule, worked in all major genres of Soviet painting. The main place in their work was occupied by the revolutionary theme, reflecting the state policy in art. A certain mythologization of history also took place through this genre.

The leading role in the development of Soviet painting in the 1920s, in historical-revolutionary genre in particular, Isaac Izrailevich Brodsky (1883-1939) played, who worked directly on a political order and created his own picturesque "Leniniana", which laid the foundation for "cult" works - in fact, the main ones in Soviet art. He was one of those artists who determined the official line of development of contemporary domestic art. Brodsky created his first work about Lenin back in 1919. According to him, the artist had been looking for a synthetic image of "leader and people" for a long time. At first, these were diametrical decisions: then the artist got one image of the leader, and the people listening to him turned into a faceless mass ("Lenin and manifestation", 1919), then, on the contrary, Lenin was lost in this mass ("Speech by V. I. Lenin at a rally of workers of the Putilov factory in 1917", 1929). Brodsky considered the image of the leader in his office in Smolny to be the most successful. ("Lenin in Smolny", 1930), the image, as it seemed to the artist, is simple and sincere, which explains the popularity of this painting in our society for many years. Documentally correct, extremely accurate transmission of the objective world here turns into frank naturalism; the chamber solution of the theme contradicts the unnecessarily large format of the canvas, its coloring is dry and boring. A master of great artistic culture, a student of the realistic school of I. E. Repin, who possessed deep professionalism, Brodsky worked a lot in other genres - portrait, landscape; Undoubtedly, his merits in streamlining art education, the artistic process, which fell into a state of chaos as a result of numerous reformations. But it is rightly said: "When a person is completely given over to lies, his mind and talent leave him" (V. G. Belinsky).

"Artistic and documentary" captured the events of the first years of the revolution in his everyday paintings Efim Mikhailovich Cheptsov(1874–1950). Small in format, very modest in terms of expressive means "Meeting of the village cell "(1924, State Tretyakov Gallery) reflected a whole era in the life of the country, as once the work of G. G. Myasoedov" Zemstvo is having lunch "- in the life of post-reform Russia (with the only difference, we note that Myasoedov was sharply critical of the innovations of the post-reform Russian village, and Cheptsov recklessly and recklessly welcomed the destruction of the traditional way of life of the Russian peasantry). It is significant that the painting was based on the artist’s personal observations when he attended a meeting of the activists of his village. There is nothing fictional in this episode. One of the characters in the picture (on the right in the corner), later a professor mathematician G. A. Sukhomlinov, even recalled how Cheptsov drew them at this meeting and then asked to pose several more times.Thus, Chentsov's painting began a new page in the history of the Soviet everyday genre, only slightly touching on a topic that after some five years ( 1929) was to be the greatest tragedy of millions.

Solve battle themes in a romantic way Mitrofan Borisovich Grekov(1882–1934). A dark spot stands out against the background of the steppe, heated by the sun, four horses, in a furious gallop rushing forward, the driver barely holds the reins in his hands, checkers sparkle, machine guns are preparing for battle. This is his picture "Tachanka" (1925, Fri), the unrestrained anthem of the First Cavalry Army of Budyonny (in the battles of which Grekov, by the way, himself took part), the victorious march sounds to her in the picture Trumpeters of the First Cavalry Army (1934, State Tretyakov Gallery): against the background of the blue sky and the delicate green of the grass, copper pipes glisten in bright sunlight and the flag banner fluttering over the detachment flares.

Grekov was just one of those artists who sincerely accepted the ideas of the revolution and gave their talent to it, involuntarily contributing to the creation of a certain legend, myth - in this case, about the First Cavalry Army of Budyonny. Like many films of the 1920s and 1930s, created by sincere people, Grekov's paintings inevitably contain a large amount of falsehood. But an earlier work of the artist "To the detachment to Budyonny" (1923) seems to us much deeper. In the lonely figure of a rider riding across the desert steppe flooded with the spring sun, concentrating on sewing a red ribbon to his hat and leading a spare horse, one can see the author’s desire not only to show popular support for the Red Army, but also to see (perhaps involuntarily) a reflection of the tragedy of the Russian peasantry and Cossacks, drawn into civil unrest. Grekov was a student of F. A. Roubaud, the author of the panorama of Sevastopol. In 1929 he created the first in Soviet art diorama "The Capture of Rostov "(taken out during the Great Patriotic War to Pyatigorsk, she died during the bombing), continuing the tradition of her teacher. Mitrofan Borisovich Grekov had a great influence on the formation of Soviet battle painting. The studio of military artists now bears his name.

The revolution sought to change everything, including - and above all - man, to create almost a new biological species, which now, with the light hand of A. A. Zinoviev, is commonly called "homo sovieticus ": ready for anything in the name of the idea, strong-willed and purposeful, uncompromising member of the team, ascetic in everyday life and adamant in the struggle. Such a mythology found expression primarily in pictorial portrait. S. V. Malyutin and G. G. Ryazhsky work in the portrait genre.

Sergei Vasilyevich Malyutin (1859–1937) wrote in 1922 portrait of the writer-fighter Dmitry Furmanov (TG). In an overcoat thrown over his shoulders, with a book in his hands, the recent commissar of the Chapaev division is presented in a state of deep thought, intense inner life. In these portraits, the old Russian problem of "intelligentsia and revolution" finds its solution, people who have managed to fit into the new life are shown.

In the 1920s it is natural to turn to the portrait, in which an attempt is made to combine purely individual features with typical features characteristic of a certain era, reflecting the social and public face of the model. Here N. A. Kasatkin paved the way ("For study. Pioneer with books", 1926; "Vuzovka", 1926; "selkorka ", 1927). Georgy Georgievich Riga(1895-1952) continues the development of this type of portrait. He left a mark on painting with his generalized image of a Soviet woman who took an active part in the construction of a new world. " delegate "(1927, State Tretyakov Gallery), "Chairwoman" (1928, State Tretyakov Gallery) is not an individual portrait, but a portrait-picture representing the type of people born into a new life, which they themselves are building, strong-willed, almost fanatical ("Chairwoman"), The integrity of the silhouette and the colorful spot, the point of view is somewhat from below should reinforce the impression of significance and monumentality, but with all this in the images there is an undeniable straightforwardness, simplification, "illustration of the idea", and therefore falseness.

IN landscape genre the main attention, of course, is given to the image of a country under construction, establishing its own life and restoring its economy. This is how the industrial landscape is created Boris Nikolaevich Yakovlev(1890–1972), one of the organizers of the AHRR. picture" Transport is getting better (1923, State Tretyakov Gallery) was destined to become a milestone in the development of Soviet landscape painting. Against the background of the yellowish-golden morning sky, the railway station, which has only recently begun to work, comes to life: the lines of tracks go into the distance, the roar of locomotives in the locomotive smoke is almost felt.

During the years of the restoration of the national economy of a gigantic country destroyed by turmoil, this industrial landscape was supposed to be, as it were, a symbol of creation. At the same time, the development of the traditions of the urban landscape, so characteristic of Russian painting of the 18th–19th and especially the late 19th and early 20th centuries, found direct expression in Yakovlev’s painting. The lyrical landscape in these years was developed in the work of K. F. Yuon (" Domes and swallows", 1921), A. A. Osmerkin ( "Sink. White nights", 1927), V. N. Baksheeva ( "Blue spring", 1930), V. K. Byalynitsky-Biruli ( "Blue March" 1930) and others.

Society of easel artists. As already noted, AHRR united mainly artists of the itinerant direction of the older and middle generation. Legally, the AHRR was associated with the youth association - OMAHRR, founded in 1925 in Leningrad by students of the Academy of Arts, which was later joined by students of the Moscow Vkhutemas. In 1921, Vkhutemas graduates created " New Society of Painters "(KNIFE) and the Society of Artists "Being", which were mentioned above in connection with the question of the traditions of the "Jack of Diamonds". KNIFE existed for a very short time (1921-1924), Genesis (1921-1930) organized seven exhibitions. Later, young people - A. A. Deineka, Yu. P. Pimenov, A. D. Goncharov and others, also mostly students of Vkhutemas, under the leadership of D. P. Society of easel painters - OST (1925). "Ahrrovtsy" were rather artists-fixers of fact, often unable to avoid naturalism and superficial everyday writing. The "Ostovtsy", on the other hand, fought for a complete easel painting that aspired to generalization, in which they sought to convey the spirit of modernity, as they understood it, the life of a new, industrial Russia, and, above all, a new man - the builder of this industrial world, resorting to a minimum of expressive means, but very dynamic. The image of an athlete becomes a favorite (hence the image of competitions, crosses, sprinters, football players, gymnasts).

The "Ostovtsy" are not based on the traditions of wandering with its everyday writing and description, but turn to the dynamics and deformation of expressionism, fragmentary composition, which could be learned from the impressionists, to the laws of lapidarity of monumental painting. A typical work of the OST was the picture Alexander Alexandrovich Deineka (1899–1969) "Defense of Petrograd" (1928, exhibited at the exhibition "10 Years of the Red Army"). The poetics of the "Ostovtsy" most sharply affected it: a certain rhythm (dimensional - the lower ranks of armed people going to defend Petrograd, and ragged, with pauses - groups of the wounded on the bridge), sharp expressiveness of the fragile line of the silhouette, graphic clarity of the drawing, plasticity and laconicism images, stinginess, even schematism of color, built on the juxtaposition of gray and black with brown interspersed in faces and clothes, making OST painting related to graphics, primarily posters. The opposition of the upper and lower tiers in Deineka's painting, the alternation of figures and pauses between them give her dramatic tension, convey the harsh and cruel rhythms of the harsh era of the first revolutionary decade. The pictorial language of the picture gives us an idea about the future work of Deineka.

Painting of the 20th century. Unions of Artists

Features of painting of the 20th century:

Painting is distinguished by a variety of forms, methods, directions.

Early 20th century - popular impressionism, which is characterized by a pure, bright, almost childish perception of life, admiration for the world.

Widespread popularity in the first two decades received avant-garde, as an expression of protest, self-expression, even rebellion.

At the beginning of the 20th century, many associations of artists were created, seeking to find new forms, styles of self-expression.

Artists actively take part in the life of the country, hold art exhibitions, participate in the creation of campaign posters, scenery for avant-garde performances.

The years of the USSR - the dominance of one method - socialist realism with its clear scope and objectives.

At the end of the 20th century, it became possible to use completely new technologies in painting - computer graphics, photography, digital media.

Unions of artists of the 20th century

Note:

there are separate articles on the work of specific artists of the 20th century on the site, the material continues to be prepared.

there will be a separate article about the artistic trends of the 20th century. Follow the publications.

Material prepared: Melnikova Vera Alexandrovna

socialist realism:

global politicization of artistic culture in the 20s-30s.

1) A group of artists created in 1922, the main purpose of which was the artistic and documentary capture of the revolution:

a) Wanderers ;

b) AHR (AHRR);

d) "World of Art"

2) The picture of which artist is presented below:

c) -Vodkin;

3) What creative community united mainly young people who graduated from VKhUTEMAS:

b) Wanderers;

c) AHR (AHRR);

d) "Blue rose"

4) The founder of the battle genre in Soviet art, a member of the AHRR, the author of "Tachanka", "To the detachment to Budyonny", "Oxen in the plow":

A) ;

b) -Vodkin;

5) The Commonwealth, created in 1925, the participants of which were -Vodkin,:

c) AHR (AHRR)

d) "4 arts"

A) ;

A) ;

a) V. Maksimov;

c) O. Kiprensky;

9) A direction in Soviet art of the 1920s, whose representatives strove to construct the material world, using technical achievements, functionality, logic and expediency of engineering and artistic solutions:

a) pseudo-realism;

b) Eclecticism;

c) Constructivism;

d) Classicism

10) Member of the "Jack of Diamonds" association, author of the painting "Moscow Food: Bread":

A) ;

11) Which project of the Vesnin brothers is presented below:

a) the Palace of Labor in Moscow;

b) Dnepropetrovsk HPP;

c) The project of the building of the People's Commissariat for Heavy Industry

a) M. Vrubel;

b) I. Kramskoy;

13) According to the project of which architect was this structure built?

A)

c) I. Kramskoy

14) This architectural project remained unfulfilled, however, it embodied the courage and talent of the architect, inspired by the scientific and technical discoveries of the early 20th century.

a) Palace of Labor;

b) "Tower of the III International";

c) Dnepropetrovsk HPP;

d) Mausoleum.

15) The author of the paintings “Soviet court”, “Rabfak goes”, “At the old Ural factory”, “Interrogation of communists”:

16) This monument, erected in 1936, is made of silver stainless steel and is 33m high. Currently dismantled for renovation purposes?

a) Cobblestone - a tool of the proletariat;

b) Worker and collective farm woman;

c) Millennium of Russia

d) top

17) Which artist's painting is shown below?

a) V. Maksimov;

d) M. Ciurlionis

18) What style, competing with constructivism, is often called "Stalinist classicism":

a) Classicism;

b) Eclecticism;

c) Traditionalism;

d) avant-garde

19) The designer of the Kropotkinskaya and Mayakovskaya metro stations in Moscow was:

A) ;

20) Architect of the building of the State Duma of Russia:

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Ministry of Education of the Russian Federation

Magnitogorsk State University

Test

Artists of the 20s and 30s

Completed by: Timeeva Alena

Magnitogorsk 2001

Introduction

October 1917 opened a new era not only in social life, but also in the life of art. Any revolution destroys something, and then the creation of a new one begins. What is taking place is not a simple development, but a decisive re-equipment of the foundations of the former social, political, ideological and other kinds of structures, including art.

The revolution raised at least two problems. The first problem is the class nature of art. An attempt to link it closely with the class struggle led to a distortion of its multifunctional nature. A particularly sharply simplified understanding of the class nature of art manifested itself in the activities of the notorious Proletcult. The element of struggle led to the destruction of cultural monuments, caused not only by military operations during the civil war and foreign intervention, but also by a policy aimed at crushing bourgeois culture. Thus, many sculptural monuments, works of ancient architecture associated with religious worship were demolished or destroyed.

The second problem is the problem of class politics in art. All forces were involved in its solution: "bourgeois" and "proletarian", destructive and constructive, Soviet and non-Soviet, "left" and "right", cultural and ignorant, professional and amateurish.

The principles of social development proclaimed by the state largely determined the gradual movement of art. A kind of stratification of forces took place, from the addition of which a vector of the real state of art was formed. On the one hand, this is the force of self-development of art, which affected the patterns of movement of forms contained in the nature of artistic creativity; on the other hand, the influence of social forces, public institutions, interested in this and not another movement of art, in its certain forms. On the third - the dictates of state policy, which, relying on social forces or not relying on them, had an unconditional impact on the structure of art, on its essence, on its evolutionary and revolutionary potential. From the end of the 1920s, politics clearly began to distort the normal process of the development of art, to exert a certain pressure on it by prohibiting or condemning certain "non-proletarian" manifestations.

Artists and art associations of the 20s.

The 1920s were a turbulent time for art. There were many different factions. Each of them put forward a platform, each spoke with its own manifesto. Art, obsessed with the idea of ​​searching, was diverse; it seethed and seethed, trying to keep pace with the era and look into the future.

The most significant groupings whose declarations and creative practice reflected the main creative processes of that time were the AHRR, OST, and the "4 Arts" (8, p. 87).

The AHRR group (Association of Artists of Revolutionary Russia) arose in 1922 (in 1928 it was renamed AHRR - Association of Artists of the Revolution). The core of the AHRR was formed mainly from former members of the Association of Traveling Exhibitions. The declaration of the AHRR was set out in the exhibition catalog of 1922: "Our civic duty to humanity is the artistic and documentary capture of the greatest moment in history in its revolutionary outburst. We will depict today: the life of the Red Army, the life of workers, peasants, revolutionaries and heroes of labor" .

AHRR artists sought to make their painting accessible to the mass audience of that time. In their work, they often mechanically used the everyday writing language of the late Wanderers. AHRR organized a number of thematic art exhibitions, the very names of which are: "Life and Life of Workers" (1922), "Life and Life of the Red Army" (1923), "Revolution, Life and Labor" (1924 - 1925), "Life and Life of Peoples USSR" (1926) - they talk about the tasks of direct reflection of modern reality.

The peculiarity of the practice of the “Akhrovites” was that they went to factories and plants, to the Red Army barracks, in order to observe the life and life of their heroes there. During the preparation of the exhibition "Life and Life of the Peoples of the USSR", its participants visited the most remote corners of the Soviet country and brought back a significant number of sketches that formed the basis of their works. The AHRR artists played an important role in mastering new themes, influencing representatives of various artistic groups of that time.

Creativity stands out among AHRR artists I.I.Brodsky(1883 - 1939), who set as his task an accurate, documentary reproduction of the events and heroes of the revolution. His canvases dedicated to the activities of V.I. Lenin. The birth of the picturesque Leniniana was based on Brodsky's 1929 painting "Lenin's Speech at the Putilov Factory", and one of his most famous works "Lenin in Smolny" (1930), depicting Lenin in his office at work. Brodsky saw Lenin many times and made sketches of him (12, p. 92).

Brodsky's works have an important quality - authenticity, which is of great historical and cognitive significance. However, the desire for documentary sometimes led to an empirical, naturalistic interpretation of the event. The artistic significance of Brodsky's paintings was also reduced by the dry naturalism and dietary coloring characteristic of a significant part of his works.

Master of the portrait-painting G.G.Ryazhsky(1895 - 1952) joined the AHRR in 1923. His most famous works are "Delegate" (1927) and "Chairwoman" (1928), in which the artist reveals the typical socio-psychological features of a woman of a new society, an active participant in the industrial and social life of the country . His "Chairwoman" is an activist worker. In her posture, gesture, self-esteem, looseness are revealed as evidence of the position of a woman in a new working society.

Among the portrait painters of the AHRR, a prominent role was played by S.V.Malyutin(1859 - 1937). The portrait gallery he started before the revolution was supplemented in Soviet times with portraits of V.K. Byalynitsky-Biruli, A.V. Lunacharsky and many others. Among them, the most interesting portrait of Dmitry Furmanov, painted in 1922, convincingly reveals the image of a warrior writer, a representative of the new, Soviet intelligentsia.

An active participant in the AHRR exhibitions was a major Russian painter of the turn of the 19th - 20th centuries. A.E. Arkhipov. In the 1920s, Arkhipov created images of peasant women - "Woman with a jug", "Peasant woman in a green apron", "Peasant woman with a pink scarf in her hand", etc. These paintings were painted with a wide brush, temperamentally and colorfully.

Close observation and attention to new phenomena of life marked the work of E.M. Cheptsov (1874 - 1943), who continued the Wandering traditions in the field of everyday genre. Widely known is his painting "Meeting of the village cell" (1924), which depicts village activists in the first years of the revolution. The author's observation and sincerity, the simplicity of his characters' appearance, the artlessness of the surrounding accessories made Cheptsov's small, modest painting work one of the most interesting examples of AHRR art.

The same can be said about one of the works of the landscape painter B.N. Yakovlev (1880 - 1972). His "Transport is getting better" (1923) is a modest and at the same time a deep story about the difficult era of the first years of the revolution, about the daily work of people. Calmly and simply painted, this painting is one of the first examples of an industrial landscape in Soviet painting.

A special place in the painting of the AHRR is occupied by the work of M.B. Grekov (1882-1934) - the founder of the battle genre in Soviet art. For a decade and a half - until the end of his life - he was busy creating a series of paintings dedicated to the First Cavalry Army, in whose campaigns and battles the artist took part. In his work, especially in the early period, the traditions of Vereshchagin clearly make themselves felt. Grekov's protagonist is the people who took upon themselves all the difficulties of the war. Grekov's works are life-affirming. In such paintings of the mid-1920s as "Tachanka" (1925), the itinerant accuracy of the image is combined with romantic elation. Later, continuing the original pictorial chronicle of the First Cavalry Army, Grekov creates epic canvases, among which the paintings "To the Kuban" and "Trumpeters of the First Cavalry Army" stand out (both - 1934).

Along with the AHRR, which included artists of the older and middle generations, who by the time of the revolution already had extensive creative experience, an active role in the artistic life of those years was played by the OST group (Society of Easel Painters), organized in 1925. It united the artistic youth of the first Soviet art university - VHU-TEMAS. (3)

The main task of the association was the struggle for the revival and further development of easel paintings on a modern theme or with modern content. However, the creative aspirations and methods of the OST artists had characteristic differences. They strove to reflect in individual facts the new qualities of their contemporary epoch in relation to the previous epoch. Their main theme was the industrialization of Russia, recently still agrarian and backward, the desire to show the dynamics of the relationship between modern production and man.

One of the most talented representatives of the OST group was A.A.Deineka. The closest OST declarations are his paintings: "At the construction of new workshops" (1925), "Before descending into the mine" (1924), "Football players" (1924), "Textile workers" (1926). The figurative pathos of Deineka, the Ostovets, found a way out in journalistic graphics, in which the artist acted as an illustrator in magazines for general reading - such as "At the machine", "The godless at the machine", "Spotlight", "Youth", etc. The central work Deineka of the Ostovo period became the painting "Defense of Petrograd", written in 1928 for the thematic exhibition "10 Years of the Red Army". This work reveals the main pathos and meaning of the innovative traditions of the OST, the most life-giving and developed in the Soviet art of subsequent periods. Deineka embodied in this picture all the originality of his style, reduced the means of expression to a minimum, but made them very active and effective (8, p. 94).

Of the other members of the OST, Yu.I. Pimenov, P.V. Williams, S.A. Luchishkin. The works "Heavy Industry" by Pimenov, "Hamburg Uprising" by Williams, "The Ball Has Flew" and "I Love Life" by Luchishkin, created in the same period, revealed and innovatively reflected the important qualities of modern reality,

In contrast to the Ostovo group, which was youthful in its composition, there were two other creative groups that occupied an important place in the artistic life of those years - "4 Arts" and OMX. (Society of Moscow Artists), - united the masters of the older generation, who were creatively formed back in pre-revolutionary times, who treated the problems of preserving pictorial culture with special reverence and considered its language and plastic form to be a very important part of the work. The 4 Arts Society arose in 1925. The most prominent members of this group were P.V. Kuznetsov, K.S. Petrov-Vodkin, M.S. Saryan, N.P. Ulyanov, K.N. Istomin, V.A. Favorsky.

The works of Petrov-Vodkin - such as "After the Battle" (1923), "The Girl at the Window" (1928), "Anxiety" (1934), most fully express the ethical meaning of various periods - milestones in the development of Soviet society. His painting "The Death of a Commissar" (1928), like Deineka's "Defense of Petrograd", painted in connection with the exhibition "10 Years of the Red Army", in contrast to the specific publicism - the basis of Deineka's figurative decisions - gives his own philosophical solution to the task: through facts that generalize ideas about events taking place on the entire planet Earth, through revealing the ethical essence of these events. A commissar is a person who, both in life and in his death, performs a feat in the name of humanity. His image is an expression of the invincibility of bright ideas that will win in the future, regardless and despite the death of the most active carriers of these ideas. The parting glance of the dying commissar is like a parting word to a detachment of fighters before an attack - he is full of faith in victory.

Philosophical ideas of Petrov-Vodkin find adequate plastic expression. The depicted space, as it were, extends over the spherical surface of the planet. The combination of direct and reverse perspective convincingly and sharply conveys the "planetary" panorama of what is happening. Figurative problems are clearly solved in the coloristic system. In his painting, the artist adheres to the principle of tricolor, as if embodying the main colors of the earth: cold blue air, blue water; brown-red earth; greenery of the plant world.

A significant mark in the history of Soviet painting was left by the artists of the OMX group, organized in 1927. Many of them became close to each other in the pre-revolutionary years in the association "Jack of Diamonds". The most active in OMChe were P.P. Konchalovsky, I.I. Mashkov, A.V. Lentulov, A.V. Kuprin, R.R. Falk, V.V. Rozhdestvensky, A.A. Osmerkin. art portrait artistic

In their declaration, the OMHa artists said: "We demand from the artist the greatest efficiency and expressiveness of the formal aspects of his work, which form inseparable from the ideological side of the latter." In this program, there is an affinity for the "4 Arts" group.

One of the most prominent exponents of this program in the Soviet art of the early years was P.P. Konchalovsky. He strove to combine "jack of diamonds" tendencies with the legacy of Russian realistic artists, which greatly expanded his creative range and helped him more organically enter Soviet art of the 1920s. The master's works such as "Self-portrait with his wife" (1922), "Portrait of O.V. Konchalovskaya" (1925), "Portrait of Natasha's daughter" (1925) are distinguished by coloristic integrity with the intensity of individual colors. In those same years, P.P. Konchalovsky makes an attempt to create thematic paintings, among which the best are Novgorodians (1921) and From the Fair (1926). The artist is interested in the traditional images of "Russian peasants" - powerful, thickset, living surrounded by familiar objects, according to the laws of old customs and, together with their environment, making up something typically national.

Artists and art associations of the 30s.

The 1930s in the history of Soviet art is a difficult period, reflecting the contradictions of reality itself. Having perceived the considerable shifts that took place in society, the pathos of industrialization, the masters of art, at the same time, almost did not notice the major social contradictions, did not express the social conflicts associated with the strengthening of Stalin's personality cult (1).

On April 23, 1932, the Central Committee of the party adopted a resolution "On the restructuring of literary and artistic organizations." This decree eliminated all previously existing artistic groupings and indicated the general ways and forms of stabilization and development of all the creative forces of Soviet art. The resolution weakened the confrontation between individual associations, which became so aggravated at the turn of the 1920s and 1930s. But on the other hand, unification tendencies intensified in artistic life. Avant-garde experiments that made themselves felt in the 1920s were interrupted. A struggle unfolded against the so-called formalism, as a result of which many artists were forced to abandon their previous conquests.

The creation of a single union coincided with the establishment of the principle of socialist realism, formulated by A.M. Gorky at the First All-Union Congress of Soviet Writers. Socialist realism assumed the inheritance of the traditions of realistic art of the 19th century. and aimed artists at depicting reality in its revolutionary development. However, as the further practice of Soviet art showed, the term "socialist realism" turned out to be insufficiently capacious and adequate to the complex and multilayered tendencies of the new culture. Its formal application to artistic practice often gave it the role of a dogmatic brake on the development of art. Under the conditions of social restructuring in the 1980s, the term "socialist realism" was subject to discussion in professional circles at various levels.

Many progressive trends that appeared in the 20s continue to develop in the 30s. This concerns, for example, the fruitful interaction of various national schools.

Artists from all the republics of the Soviet Union take part in the large art exhibitions organized in the 1930s. At the same time, republican exhibitions are organized in Moscow in connection with the decades of national art. Issues of national art are of particular concern to the artists of the fraternal republics.

In the 1930s, the practice of state orders and creative business trips for artists expanded. Major exhibitions are being organized: "15 Years of the Red Army", "20 Years of the Red Army", "20 Years of the Komsomol", "Industry of Socialism", "Exhibition of the Best Works of Soviet Painting", etc. Soviet artists participate in international exhibitions in Paris and New York, perform works for the All-Union Agricultural Exhibition in Moscow, in connection with the preparation of which a significant number of monumental and decorative works were created, which, in essence, meant an important stage in the revival of monumental painting as an independent art form that had its own goals and patterns. In these works, the attraction of Soviet art to monumentalism found expression.

One of the most significant representatives of easel painting of this period is the artist Boris Vladimirovich Ioganson(1893 - 1973), who turned in his work to the highest traditions of Russian painting of the XIX century. He interprets the heritage of Surikov and Repin, introducing new revolutionary content into his works, consonant with the era. From this point of view, Ioganson's paintings "Interrogation of the Communists" (1933) and "At the Old Ural Plant" (1937) are especially important.

The painting "Interrogation of Communists" was exhibited for the first time at the exhibition "15 Years of the Red Army". In it, the artist showed the communists who stood up to defend the revolutionary fatherland, and their opponents - the White Guards, who tried to strangle the Soviet state during the civil war. The artist conducts his historical generalization in the tradition of Repin, through the demonstration of a specific action in a specific setting. We do not know the names of the people depicted here, the more historically the image as a whole is perceived by us as universal. The communists in Ioganson's painting are doomed to death. But the artist shows their calmness, courage, strength and stamina, which contrast with the anxiety, nervousness, psychological disunity that reigns in the group of White Guards, powerless not only in this situation, but, as it were, in the face of history.

In the painting "At the Old Ural Factory", painted for the "Industry of Socialism" exhibition, Ioganson contrasts the images of a breeder and a worker, in which he reveals a sense of nascent class consciousness and internal superiority over the exploiter. With this painting, the artist showed the historical conflict between the old and the new, the reactionary and the progressive, and affirmed the victorious power of the revolutionary and the progressive. These are the new characteristic features of the Soviet historical-revolutionary genre on the example of Ioganson's painting.

A special place in this period is multifaceted in images, themes and genres of creativity Sergei Vasilyevich Gerasimov. The most striking work of the historical genre in his work is the painting "The Oath of the Siberian Partisans" (1933), striking in its open expressiveness, revealed coloristic expressiveness, sharp drawing, and dynamic composition. Working in the domestic genre, S.V. Gerasimov paid the main attention to the peasant theme. To solve it, the artist went through the portrait, creating a number of convincing peasant images. During the construction of the collective farm village, he painted one of the most striking portraits, "The Collective Farm Watchman" (1933). Among the most significant works of genre painting of the 1930s was the painting Collective Farm Holiday (1937), which was exhibited at the exhibition Industry of Socialism. Accurately and succinctly characterizes this picture of the largest Soviet art critic academician I.E. Grabar: "When the wonderful canvas "Collective Farm Holiday" appeared, one of the best paintings of the "Industry of Socialism" exhibition, a new, extraordinary growth of the master became obvious. Hardly any of the Soviet artists, except for Sergei Gerasimov, could cope with such a compositional, light and a color task, and even with the help of such simple means and techniques. It was the sunniest picture in Russian painting during the revolution, despite the fact that it was executed in a restrained plan "(1, p. 189).

The "singer" of the Soviet peasantry was Arkady Alexandrovich Plastov(1893 - 1983), associated with the Russian village by his origin. He was greatly influenced throughout his life by the impressions of childhood spent in close contact with nature, with the land, with the peasants living on this land.

After the Great October Socialist Revolution, Plastov, carried away by work in his native village of Prislonikhe, devoting his free time to painting, accumulated sketches and impressions for his future works dedicated to peasant life. One of the first significant works of Plastov - full of air and light, the painting "Bathing the Horses" - was made by him for the exhibition "20 Years of the Red Army". For the exhibition "Industry of Socialism" Plastov painted a large canvas "Collective Farm Holiday". Another bright work of Plastov of that time is "Collective Farm Herd" (1938). All of these paintings show some common features. Plastov does not think of the genre scene outside the landscape, outside Russian nature, always interpreted in a lyrical way, revealing its beauty in the simplest manifestations. Another feature of Plastov's genre works is the absence of any conflict or special moment in the plot chosen by the artist. Sometimes in his paintings, as, for example, in the "Collective Farm Herd", there are no events at all, nothing happens. But at the same time, the artist always achieves the poetic expressiveness of the picture.

Talent developed in its own way in the 30s A.A.Deineka. He continued to adhere to his former themes, plots, favorite images, color and compositional system. True, his painting style softens somewhat, examples of which are the best works of the 30s - "Mother" (1932), "Lunch Break in the Donbass" (1935), "Future Pilots" (1938). Sports, aviation, a naked trained body, laconicism and simplicity of the picturesque language, sonorous combinations of brown-orange and blue are softened in some cases by lyricism, a moment of contemplation. Deineka also expanded the thematic framework of his work, including scenes from the life of foreign countries, which appeared as a result of trips to the USA, France, Germany and Italy.

Another former member of the OST - Yu.I.Pimenov(1903--1977) created one of the best paintings of the 30s "New Moscow" (1937). The landscape of the center of Moscow (Sverdlov Square) seems to be seen from a speeding car driven by a young woman with her back to the viewer. New erected buildings, the fast running of a car, light colors, an abundance of air, the breadth of space and the frame of the composition - everything is imbued with an optimistic worldview.

In the 1930s, the landscape art of G.G. Nissky (1903 - 1987), a follower of the Ostovtsy, who adopted from them laconicism, sharpness of compositional and rhythmic solutions. These are his paintings "Autumn" (1932) and "On the Way" (1933). In the landscapes of Nyssa, the transformative activity of man is always visible.

Of the landscape painters of the older generation, the work of N.P. Krymov (1884 - 1958), who created in 1937 the famous painting "Morning in the Gorky Central Park of Culture and Leisure in Moscow". A wide panoramic view of the park, the distances opening behind it, a flat horizon line that leads the viewer's eye beyond the canvas - everything breathes freshness and spaciousness.

A. Rylov, whose work was formed at the beginning of the 20th century, in the painting "Lenin in Razliv" (1934) combines the landscape with the historical genre, achieving a sense of the expanse of nature, thought, feeling, affirming historical optimism.

The attraction to the panoramic landscape manifested itself in the works of many painters from different republics. This gravitation was associated with that keen sense of the Motherland, native land, which in the 1930s strengthened and grew. D.N. Kakabadze (1889 - 1952) in his "Imeretian landscape" (1934) gives a wide spread of the Caucasian mountains, stretching into the distance - ridge after ridge, slope after slope. In the work of M.S. Saryan The 1930s were also marked by an interest in the national landscape, in panoramic views of Armenia.

During this period, the portrait genre also received fruitful development, in which the artists of the older generation P.P. Konchalovsky, I.E. Grabar, M.V. Nesterov and some others.

P.P. Konchalovsky, known for his works in the most diverse genres of painting, created a whole series of portraits of figures of Soviet science and art in the 30s and 40s. Among the best portraits of V.V. Sofronitsky at the piano (1932), S.S. Prokofiev (1934), V.E. Meyerhold (1937). In these works, Konchalovsky brings his excellent ability to express life through the plastic-color system. He combines the best traditions of the old art with the innovative sharpness of color vision, life-affirming, major emotionally powerful sound of the image.

The true pinnacle of the development of portraiture of that period were the works of M.V. Nesterov. Throughout his work, which united the 19th and 20th centuries, Nesterov retained a living connection with life. In the 1930s, he experienced a brilliant rise, rediscovering his talent as a portrait painter. The figurative meaning in Nesterov's portraits is the affirmation of the creative spirit of the time through the identification of the creative pathos of the most diverse people representing this time. The circle of Nesterov's heroes is representatives of the Soviet intelligentsia of the older generation, people of creative professions. So, among the most significant works of Nesterov are portraits of artists - the Korin brothers (1930), sculptor I.D. Shadra (1934), Academician I.P. Pavlov (1935), surgeon S.S. Yudin (1935), sculptor V.I. Mukhina (1940). Nesterov acts as a successor to the portrait traditions of V.A. Serov. He emphasizes characteristics, emphasizes gestures, characteristic postures of his characters. Academician Pavlov firmly clenched his fists placed on the table, and this pose reveals strength of mind, which contrasts with obvious old age. The surgeon Yudin is also depicted in profile, sitting at the table. But the expressiveness of this image is based on the characteristic, "flying" gesture of the hand raised up. Yudin's outstretched fingers are typical surgeon's fingers, dexterous and strong, ready to fulfill his will. Mukhina is depicted at the moment of creation. She sculpts a sculpture - with concentration, not paying attention to the artist, completely obeying her impulse.

Accessories are succinctly given in these portraits. They are rightfully and actively included in the characteristics of the depicted people with their color, illumination, silhouette. The coloring of the portraits is dramatically active, saturated with sonorous, subtly harmonized additional tones. Thus, the complex color in Pavlov's portrait, built on a combination of the finest shades of cold and warm tones, characterizes the spiritual clarity and integrity of the scientist's inner world. And in the portrait of the Korin brothers, it thickens to deep blue, black, rich brown, expressing the dramatic nature of their creative state. Nesterov's portraits introduced into art a fundamentally new, life-affirming beginning, creative burning as the most typical and vivid manifestations of the state of people in an era of high labor enthusiasm.

The artist closest to Nesterov Pavel Dmitrievich Korin(1892 - 1967). He was brought up among Palekh painters, he began his career with the painting of icons, and in 1911, on the advice of Nesterov, he entered the Moscow School of Painting, Sculpture and Architecture. Severely demanding of himself and people, Korin carried this quality through all his work. A.M. played a significant role in the creative development, and indeed in the life of the artist. Gorky, whom he met in 1931. Gorky helped Korin make a trip abroad to study the best monuments of world art.

Perhaps that is why the portrait gallery of scientists, artists, writers of our time, which Korin has been creating for many years, began with the image of A.M. Gorky (1932). In essence, already in this work, the main features of Korin the portrait painter are revealed. The portrait of Gorky is a truly monumental work, where a clearly defined silhouette, a contrasting background, a wide color fill of large areas of the canvas, a sharp expressive drawing express the historical generalization of the writer's personality. For this, as for other portraits of Korin, a severe range is characteristic with an abundance of dark gray, dark blue, sometimes reaching black, tones. This gamut, as well as the clearly sculpted form of the head and figure of the person being portrayed, expresses the emotional qualities of the artist's nature (6).

In the 30s, Korin created portraits of actors L.M. Leonidov and V.I. Kachalov, artist M.V. Nesterov, writer A.N. Tolstoy, scientist N.F. Gamaleya. It is obvious that for him, as well as for his spiritual teacher M.V. Nesterov, interest in a creative personality is far from accidental.

The successes of painting in the 1930s do not mean that the path of its development was simple and devoid of contradictions. In many works of those years, the features generated by the cult of I.V. Stalin. This is a false pathos of a pseudo-heroic, pseudo-romantic, pseudo-optimistic attitude to life, which determines the essence and meaning of "ceremonial" art. A competition arose between artists in the struggle for unmistakable "superplots" associated with the image of I.V. Stalin, the successes of industrialization, the successes of the peasantry and collectivization. A number of artists have emerged who "specialize" in the subject. The most tendentious in this respect was Alexander Gerasimov ("Stalin and KE Voroshilov in the Kremlin" and his other works).

Bibliography

1. Vereshchagin A. Artist. Time. Story. Essays on the history of Russian historical painting XVIII - early. XX centuries - L .: Art, 1973.

2. Painting 20 - 30-ies / Ed. V.S.manin. - St. Petersburg: Artist of the RSFSR, 1991.

3. Zezina M.R., Koshman L.V., Shulgin V.S. History of Russian culture. - M.: Higher. school, 1990.

4. Lebedev P.I. Soviet art during the period of foreign intervention and civil war. - M., 1987.

5. Likhachev D.S. Russian art from antiquity to the avant-garde. - M.: Art, 1992.

6. Ilyina T.V. Art history. Domestic art. - M.: Higher. school, 1994.

7. History of art of the peoples of the USSR. In 9 volumes - M., 1971 - 1984.

8. History of Russian and Soviet Art / Ed. MM. Allenova. - M.: Higher School, 1987.

9. Polikarpov V.M. Culturology. - M.: Gardarika, 1997.

10. Rozin V.M. Introduction to cultural studies. - M.: Forum, 1997.

11. Stepanyan N. Art of Russia of the XX century. A look from the 90s. - Moscow: EKSMO-PRESS, 1999.

12. Suzdalev P.K. History of Soviet painting. - M., 1973.

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