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Paintings of the battle genre. Love as a genre

Paintings of the battle genre. Love as a genre

25.02.2019

In the 17th century, the division of genres of painting into "high" and "low" was introduced. The first included historical, battle and mythological genres. The second included mundane genres of painting from Everyday life, for example, household genre, still life, animalistics, portrait, nude, landscape.

historical genre

The historical genre in painting depicts not a specific object or person, but a certain moment or event that took place in the history of past eras. It is included in the main painting genres in art. Portrait, battle, everyday and mythological genres are often closely intertwined with the historical.

"Conquest of Siberia by Yermak" (1891-1895)
Vasily Surikov

Artists Nicolas Poussin, Tintoretto, Eugene Delacroix, Peter Rubens, Vasily Ivanovich Surikov, Boris Mikhailovich Kustodiev and many others painted their paintings in the historical genre.

mythological genre

Legends, ancient legends and myths, folklore - the image of these plots, heroes and events has found its place in the mythological genre of painting. Perhaps, it can be distinguished in the painting of any nation, because the history of each ethnic group is full of legends and traditions. For example, such a plot of Greek mythology as secret romance the god of war Ares and the goddess of beauty Aphrodite are depicted in the painting "Parnassus" by an Italian artist named Andrea Mantegna.

"Parnassus" (1497)
Andrea Mantegna

Mythology in painting was finally formed in the Renaissance. Representatives of this genre, in addition to Andrea Mantegna, are Rafael Santi, Giorgione, Lucas Cranach, Sandro Botticelli, Viktor Mikhailovich Vasnetsov and others.

Battle genre

Battle painting describes scenes from military life. Most often, various military campaigns are illustrated, as well as sea and land battles. And since these battles are often taken from real history, the battle and historical genres find their intersection point here.

Fragment of the panorama "Battle of Borodino" (1912)
Franz Roubaud

Battle painting took shape during the Italian Renaissance in the work of artists Michelangelo Buonarroti, Leonardo da Vinci, and then Theodore Gericault, Francisco Goya, Franz Alekseevich Roubaud, Mitrofan Borisovich Grekov and many other painters.

household genre

Scenes from everyday, social or privacy ordinary people, whether it be urban or peasant life, depicts the everyday genre in painting. Like many others painting genres, everyday paintings are rarely found in their own form, becoming part of the portrait or landscape genre.

"Seller of Musical Instruments" (1652)
Karel Fabricius

Origin household painting occurred in the 10th century in the East, and it passed to Europe and Russia only in the 17th-18th centuries. Jan Vermeer, Karel Fabricius and Gabriel Metsu, Mikhail Shibanov and Ivan Alekseevich Ermenev are the most famous artists of everyday paintings of that period.

Animal genre

main objects animal genre are animals and birds, both wild and domestic, and in general all representatives of the animal world. Initially, animalistics was included in the genres Chinese painting, since it first appeared in China in the 8th century. In Europe, animalism was formed only in the Renaissance - animals at that time were depicted as the embodiment of the vices and virtues of man.

"Horses in the Meadow" (1649)
Paulus Potter

Antonio Pisanello, Paulus Potter, Albrecht Durer, Frans Snyders, Albert Cuyp are the main representatives of animalistics in the visual arts.

Still life

In the still life genre, objects that surround a person in life are depicted. These are inanimate objects grouped together. Such objects may belong to the same genus (for example, only fruits are depicted in the picture), or they may be heterogeneous (fruits, dishes, musical instruments, flowers, etc.).

"Flowers in a Basket, Butterfly and Dragonfly" (1614)
Ambrosius Bosschaert the Elder

Still life as an independent genre took shape in the 17th century. Particularly distinguished are the Flemish and Dutch schools of still life. Representatives of a variety of styles painted their paintings in this genre, from realism to cubism. Some of the most famous still lifes were painted by the painters Ambrosius Bosschaert the Elder, Albertus Jonah Brandt, Paul Cezanne, Vincent van Gogh, Pierre Auguste Renoir, Willem Claes Heda.

Portrait

Portrait - a genre of painting, which is one of the most common in the visual arts. The purpose of a portrait in painting is to portray a person, but not just his appearance, but also to convey the inner feelings and mood of the person being portrayed.

Portraits are single, pair, group, as well as a self-portrait, which is sometimes distinguished a separate genre. And the most famous portrait of all time, perhaps, is the painting by Leonardo da Vinci called "Portrait of Mrs. Lisa del Giocondo", known to everyone as "Mona Lisa".

"Mona Lisa" (1503-1506)
Leonardo da Vinci

The first portraits appeared millennia ago in ancient Egypt - they were images of the pharaohs. Since then, most artists of all time have dabbled in this genre in one way or another. The portrait and historical genres of painting can also intersect: the image of a great historical figure will be considered a work of the historical genre, although it will convey the appearance and character of this person as a portrait.

nude

The purpose of the nude genre is to depict the naked body of a person. The Renaissance period is considered the moment of the emergence and development of this type of painting, and the main object of painting then most often became the female body, which embodied the beauty of the era.

"Country Concert" (1510)
Titian

Titian, Amedeo Modigliani, Antonio da Correggio, Giorgione, Pablo Picasso are the most famous artists who painted in the nude genre.

Scenery

The main theme of the landscape genre is nature, environment city, countryside or wilderness. The first landscapes appeared in ancient times when painting palaces and temples, creating miniatures and icons. As independent genre the landscape takes shape already in the 16th century and has since become one of the most popular painting genres.

It is present in the work of many painters, starting with Peter Rubens, Alexei Kondratievich Savrasov, Edouard Manet, continuing with Isaac Ilyich Levitan, Piet Mondrian, Pablo Picasso, Georges Braque and ending with many contemporary artists of the XXI century.

"Golden Autumn" (1895)
Isaac Levitan

Among landscape painting, one can single out such genres as sea and city landscapes.

Veduta

Veduta is a landscape, the purpose of which is to depict the appearance of an urban area and convey its beauty and color. Later, with the development of industry, the urban landscape turns into an industrial landscape.

"Saint Mark's Square" (1730)
Canaletto

You can appreciate urban landscapes by getting acquainted with the works of Canaletto, Pieter Brueghel, Fyodor Yakovlevich Alekseev, Sylvester Feodosievich Shchedrin.

Marina

Seascape, or marina depicts the nature of the sea element, its greatness. Perhaps the most famous marine painter in the world is Ivan Konstantinovich Aivazovsky, whose painting The Ninth Wave can be called a masterpiece of Russian painting. The heyday of the marina occurred simultaneously with the development of the landscape as such.

"Sailboat in a Storm" (1886)
James Buttersworth

With their seascapes also known are Katsushika Hokusai, James Edward Buttersworth, Alexey Petrovich Bogolyubov, Lev Feliksovich Lagorio and Rafael Montleon Torres.

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Battle genre

Battle genre (from French bataille - battle), genre visual arts dedicated to the topics of war and military life. The main place in the battle genre is occupied by scenes of battles (including naval ones) and military campaigns of the present or the past. The desire to capture a particularly important or characteristic moment of the battle, and often reveal the historical meaning of military events, brings the battle genre closer to the historical genre. The scenes of everyday life of the army and navy, found in the works of the battle genre, have something in common with the genre of everyday life. progressive trend in the development of the battle genre of the XIX-XX centuries. connected with the realistic disclosure of the social nature of wars and the role of the people in them, with the exposure of unjust aggressive wars, the glorification of national heroism in revolutionary and liberation wars, and the education of civil patriotic feelings among the people. In the 20th century, in the era of devastating world wars, the battle genre, historical and everyday genres are closely connected with works that reflect the cruelty of imperialist wars, the incalculable suffering of peoples, their readiness to fight for freedom.

Images of battles and campaigns have been known in art since ancient times (reliefs of the Ancient East, ancient Greek vase painting, reliefs on the pediments and friezes of temples, on ancient Roman triumphal arches and columns). In the Middle Ages, battles were depicted in European and Oriental book miniatures (“Front chronicle ”, Moscow, XVI century), sometimes on icons; images on fabrics are also known (“Bayeux Carpet” with scenes of the conquest of England by the Norman feudal lords, around 1073-83); there are numerous battle scenes in the reliefs of China and Kampuchea, Indian murals, and Japanese painting. In the XV-XVI centuries, during the Renaissance in Italy, images of battles were created by Paolo Uccello, Piero della Francesca. The battle scenes received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci (“The Battle of Anghiari”, 1503-06), who showed the fierce fierceness of the battle, and Michelangelo (“The Battle of Kashin”, 1504-06), who emphasized heroic readiness warriors to fight. Titian (the so-called "Battle of Cadore", 1537-38) introduced a real environment into the battle scene, and Tintoretto introduced innumerable masses of warriors ("The Battle of Dawn", about 1585). In the formation of the battle genre in the 17th century. an important role was played by the sharp exposure of the robbery and cruelty of soldiers in the etchings of the Frenchman J. Callot, the deep disclosure of the socio-historical significance and ethical meaning of military events by the Spaniard D. Velasquez (“Surrender of Breda”, 1634), the dynamics and drama of the battle paintings by the Fleming P.P. Rubens. Later, professional battle painters stand out (A.F. van der Meulen in France), types of conditionally allegorical composition are formed, exalting the commander, presented against the background of the battle (Ch. Lebrun in France), a small battle picture with a spectacular image of cavalry skirmishes, episodes of military life (F. Wauerman in Holland) and scenes of naval battles (V. van de Velde in Holland). In the XVIII century. in connection with the war for independence, works of the battle genre appeared in American painting (B. West, J.S. Copley, J. Trumbull), the Russian patriotic battle genre was born - the paintings “Battle of Kulikovo” and “Poltava Battle”, attributed to I.N. . Nikitin, engravings by A.F. Zubov, mosaic by M.V. Lomonosov "Poltava battle" (1762-64), battle-historical compositions by G.I. Ugryumov, watercolors by M.M. Ivanova. The Great French Revolution (1789-94) and the Napoleonic Wars were reflected in the work of many artists - A. Gro (who went from a passion for the romance of revolutionary wars to the exaltation of Napoleon I), T. Gericault (who created the heroic-romantic images of the Napoleonic epic), F. Goya (who showed the drama of the struggle of the Spanish people with the French invaders). Historicism and the freedom-loving pathos of romanticism were vividly expressed in E. Delacroix's battle-historical paintings, inspired by the events of the July Revolution of 1830 in France. The national liberation movements in Europe inspired the romantic battle compositions of P. Michalovsky and A. Orlovsky in Poland, G. Wappers in Belgium, and later J. Matejko in Poland, M. Alyosha, J. Cermak in the Czech Republic, and others. In France in official battle painting (O. Vernet), false romantic effects were combined with external plausibility. Russian academic battle painting moved from traditionally conditional compositions with a commander in the center to greater documentary accuracy. overall picture combat and genre details (A.I. Sauerweid, B.P. Villevalde, A.E. Kotzebue). Outside the academic tradition of the battle genre, I.I. Terebenev dedicated to the Patriotic War of 1812, “Cossack scenes” in Orlovsky’s lithographs, drawings by P.A. Fedotova, G.G. Gagarina, M.Yu. Lermontov, lithographs by V.F. Timma.

The development of realism in the second half of the XIX - early XX centuries. led to the strengthening of landscape, genre, sometimes psychological principles in the battle genre, attention to the actions, experiences, life of ordinary soldiers (A. Menzel in Germany, J. Fattori in Italy, W. Homer in the USA, M. Gerymsky in Poland, N. Grigorescu in Romania, Ya. Veshin in Bulgaria). A realistic depiction of the episodes of the Franco-Prussian War of 1870-71 was given by the Frenchmen E. Detail and A. Neuville. In Russia, the art of maritime battle painting flourished (I.K. Aivazovsky, A.P. Bogolyubov), battle-everyday painting appeared (P.O. Kovalevsky, V.D. Polenov). With merciless truthfulness, V.V. showed the harsh everyday life of the war. Vereshchagin, who denounced militarism and captured the courage and suffering of the people. Realism and the rejection of conventional schemes are also inherent in the battle genre of the Wanderers - I.M. Pryanishnikova, A.D. Kivshenko, V.I. Surikov, who created a monumental epic of the military exploits of the people, V.M. Vasnetsov, inspired by the ancient Russian epic. The greatest master of the battle panorama was F.A. Roubaud.

In the XX century. social and national liberation revolutions, unprecedented destructive wars radically changed the battle genre, expanding its boundaries and artistic meaning. In many works of the battle genre, historical, philosophical and social issues, problems of peace and war, fascism and war, war and human society, etc. were raised. In the countries of the fascist dictatorship, brute force and cruelty were glorified in soulless, falsely monumental forms. In contrast to the apology of militarism, the Belgian F. Mazerel, the German artists K. Kollwitz and O. Dix, the Englishman F. Brangvin, the Mexican H.K. orozco, french painter P. Picasso, Japanese painters Maruki Iri and Maruki Toshiko and others, protesting against fascism, imperialist wars, cruel inhumanity, created vividly emotional, symbolic images folk tragedy.

In Soviet art, the battle genre received a very wide development, expressing the ideas of protecting the socialist fatherland, the unity of the army and the people, revealing the class nature of wars. Soviet battle painters brought to the fore the image of the Soviet patriot warrior, his stamina and courage, love for the Motherland and the will to win. The Soviet battle genre was formed in the graphics of the period of the Civil War of 1918-20, and then in the paintings of M.B. Grekova, M.I. Avilova, F.S. Bogorodsky, P.M. Shukhmina, K.S. Petrova-Vodkina, A.A. Deineki, G.K. Savitsky, N.S. Samokish, R.R. Franz; he experienced a new upsurge during the Great Patriotic War of 1941-45 and in the post-war years - in posters and "TASS Windows", front-line graphics, graphic cycles by D.A. Shmarinova, A.F. Pakhomov, B.I. Prorokov and others, paintings by Deineka, Kukryniksy, members of the Studio of Military Artists named after M.B. Grekov (P.A. Krivonogov, B.M. Nemensky and others), in sculpture by Yu.Y. Mikenas, E.V. Vuchetich, M.K. Anikushina, A.P. Kibalnikova, V.E. Tsygalya and others.

In the art of the countries of socialism and in the progressive art of the capitalist countries, works of the battle genre are devoted to the depiction of anti-fascist and revolutionary battles, major events in national history (K. Dunikovsky in Poland, J. Andreevich-Kun, G.A. Kos and P. Lubard in Yugoslavia, J. . Salim in Iraq), the history of the liberation struggle of peoples (M. Lingner in the GDR, R. Guttuso in Italy, D. Siqueiros in Mexico).

Leonardo da Vinci. "Battle of Angyari". 1503-1506. Figure P.P. Rubens. Louvre. Paris

M.B. Greeks. "Tachanka". 1925. Tretyakov Gallery. Moscow

V.V. Vereshchagin. "Attack by surprise." 1871. Tretyakov Gallery. Moscow

A.A. Deineka. "Defense of Sevastopol". 1942. Russian Museum. Leningrad

battle pictorial military battle

The formation of the battle genre begins in the Renaissance (Leonardo da Vinci, Michelangelo, Titian, Tintoretto), it flourishes in the 17th-18th centuries. (D. Velazquez, Rembrandt, N. Poussin, A. Watteau) and especially vividly conveys the tragedy of the war during the period of romanticism in the 1st half of the 19th century. (F. Goya, T. Gericault, E. Delacroix). Battle painters, as a rule, strive to convey the heroic readiness to fight, sing of military prowess, the triumph of victory, but sometimes in their works they expose the anti-human essence of war, curse it (P. Picasso "Guernica", paintings by V. Vereshchagin, M. Grekov , A. Deineki, E. Moiseenko, G. Korzheva and others).

B.'s formation. refers to the 16th-17th centuries, but images of battles have been known in art since ancient times. The reliefs of the Ancient East represent a king or a commander exterminating enemies, sieges of cities, processions of warriors. In ancient Greek vase painting, reliefs on the pediments and friezes of temples, the military prowess of mythical heroes is sung as a moral model; the image of the battle between Alexander the Great and Darius is unique (Roman mosaic copy of the Hellenistic model of the 4th-3rd centuries BC). The reliefs on the ancient Roman triumphal arches and columns glorify the conquering campaigns and victories of the emperors. In the Middle Ages, battles were depicted on fabrics (The Bayeux Carpet with scenes of the Norman conquest of England, circa 1073-83), in European and Oriental book miniatures (The Illuminated Chronicle, Moscow, 16th century), and sometimes on icons; there are numerous battle scenes in the reliefs of China and Cambodia, Indian murals, and Japanese paintings. The Renaissance in Italy includes the first attempts at a realistic depiction of battles (Paolo Uccello, Piero della Francesca - 15th century); it received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci (“The Battle of Anghiari”, 1503-06), which showed the fierce fierceness of the fight and the “brutal madness” of civil strife, and Michelangelo (“The Battle of Kashin”, 1504-06 ), which emphasized the heroic readiness to fight; Titian introduced a real environment into the battle scene (the so-called “Battle of Cadore”, 1537-38), and Tintoretto introduced innumerable masses of warriors (“The Battle of Dawn”, about 1585).

In B.'s formation. in the 17th century an important role was played by the sharp exposure of the cruelty of the conquerors in the etchings of the Frenchman J. Callot, the deep disclosure of the socio-historical meaning of military events in the Surrender of Breda by the Spaniard D. Velasquez (1634-35), the dramatic passion of the battle paintings by the Fleming P.P. Rubens. Later, professional battle painters stand out (A.F. van der Meulen in France), types of conditionally allegorical composition are formed, exalting the commander, presented against the background of the battle (Ch. Lebrun in France), a small battle picture with a spectacular (but indifferent to the meaning of events ) depicting cavalry skirmishes or episodes of military life (S. Rosa in Italy, F. Wauerman in Holland) and scenes of a naval battle (V. van de Velde in Holland). In the 18th century conditional official battles were opposed true images the hardships of camp and camp life (A. Watteau in France), and later - paintings by American painters (B. West, J.S. Copley, J. Trumbull), who introduced sincere pathos and fresh observations into the depiction of military episodes: the Russian . and. - paintings "Battle of Kulikovo" and "Battle of Poltava", attributed to I.N. Nikitin, engravings by A.F. Zubov with naval battles, mosaic by M.V. Lomonosov "Poltava battle" (1762-64), large battle-historical compositions by G.I. Ugryumov, watercolors by M.M. Ivanov with images of the assaults of Ochakov and Izmail. The Great French Revolution and the Napoleonic Wars gave rise to large-scale battle canvases by A. Gro (who came from a passion for the romance of revolutionary wars to the false exaltation of Napoleon and the outward showiness of the exoticism of the entourage), dry documentary paintings by German artists A. Adam and P. Hess, but at the same time psychologically true romantic images of the Napoleonic epic in the paintings of T. Gericault and stunning dramatic scenes of the struggle of the Spaniards with the French invaders in the paintings and drawings of the Spanish artist F. Goya. The historicism and freedom-loving pathos of progressive romanticism were clearly expressed in the battle-historical paintings of E. Delacroix, who showed the dramatic and passionate tension of mass battles, the cruelty of the conquerors, and the inspiration of the fighters for freedom.

The romantic battle compositions of P. Michalovsky and A. Orlovsky in Poland, G. Wappers in Belgium, and later J. Matejko in Poland, J. Cermak in the Czech Republic, J. Jaksic in Serbia, etc. were inspired by the liberation movements. In France, the romantic legend of Napoleon stains the floor genre paintings N.T. Charlet and O. Raffe. In the dominant official battle painting (O. Berne), nationalistic concepts and false romantic effects were combined with external plausibility. Russian academic battle painting moved from traditional conditional compositions with a commander in the center (V.I. Moshkov) to a greater documentary accuracy of the overall picture of the battle and genre details (A.I. Sauerweid, B.P. Villevalde and especially A.E. Kotzebue) , but even K.P. could not overcome the spirit of idealization traditional for her. Bryullov, who tried to create a folk-heroic epic in The Siege of Pskov (1839-43). Outside the academic tradition B. Zh. there were luboks I.I. Terebenev, dedicated to the national feat in the Patriotic War of 1812, "Cossack scenes" in Orlovsky's lithographs, drawings by P.A. Fedotov on the themes of barracks and camp life, drawings by G.G. Gagarin and M.Yu. Lermontov, vividly recreating scenes of the war in the Caucasus, lithographs by V.F. Timma on topics Crimean War 1853-56.

The apotheosis of war in the vision of VV Vereshchagin.

Having learned in April 1868 that the Emir of Bukhara, who was in Samarkand, had declared a “holy war” to the Russian troops, Vereshchagin rushed after the army towards the enemy. "War! And so close to me! In the Central Asia! I wanted to take a closer look at the anxiety of the battles, and I immediately left the village. Vereshchagin did not catch the battle that unfolded on the outskirts of Samarkand on May 2, 1868, but shuddered in front of the picture tragic consequences this battle. "I never saw a battlefield, and my heart bled." These words of the artist are a cry of horror of a not yet hardened, impressionable soul, which received the first impetus for deep reflections about what war is. From here it was still very far from the development of firm anti-militarist views. Yet the first major shock had far-reaching consequences.

Having stopped in Samarkand, occupied by the Russians, Vereshchagin began to study the life and life of the city. But when the main troops under the command of Kaufman left Samarkand to further fight the emir, the small garrison of the city locked itself in the citadel and was besieged by thousands of troops of the Shakhrisabz Khanate and the rebellious local population. The opponents outnumbered the Russian forces by almost eighty times. From their fire, the ranks of the courageous defenders of the Samarkand citadel were greatly thinned. The situation sometimes became simply catastrophic. Vereshchagin, having changed his pencil for a gun, joined the ranks of the defenders.

The defense of Samarkand not only tempered Vereshchagin's character and will, but also made him think about what he had experienced and seen. The horrors of the battle, the death and suffering of a mass of people, the atrocities of the enemies who subjected the prisoners to painful torture and cut off their heads - all this left an indelible mark on the mind of the artist, greatly agitated and tormented him. He later said that the looks of the dying remained for him a painful memory forever.

During the second trip to Turkestan, Vereshchagin worked especially hard and very successfully in the field of painting.

In order to generalize the material accumulated in Turkestan, Vereshchagin settled in Munich from the beginning of 1871, where he began to create a large series of paintings. A number of battle paintings were united by the artist into a series, which he called "Barbarians". In the paintings of this series: “Look out” (1873), “Attack by surprise” (1871), “Surrounded - persecuted” (1872), “Presenting trophies” (1872), “Triumphing” (1872), “At the tomb of the saint they thank the Almighty "(1873) and" The Apotheosis of War "(1871-1872), episodes related to one another from the Turkestan war, telling about its cruelty, are captured. The final picture of the series "The Apotheosis of War" depicts a pyramid of human skulls, stacked in a Central Asian valley, against the backdrop of a war-torn city and dried-up gardens. Flocks of hungry birds of prey circle over the pyramid, sit on the skulls. The hot air is conveyed with great skill. The expressive grayish-yellow color perfectly conveys the feeling of a sun-dried, dead nature. In The Apotheosis of War, the artist achieves a significant tonal unity, indicating the growth of his skill in the transfer of space, air and light.

"The Apotheosis of War" is the artist's harsh condemnation of wars of conquest that bring death, annihilation, and destruction. The picture reproduces one of the "pyramids", which, on the orders of Tamerlane and other oriental despots, were built from the skulls of their defeated enemies. On the frame of the picture, the artist inscribed significant words: "Dedicated to all the great conquerors, past, present and future." The picture fully retains its accusatory power to our time, revealing the criminality of modern imperialist aggression, dooming entire countries and peoples to destruction.

Military painting 1941-1945

The most difficult test for the country was the Second World War with Hitler's Germany. When the Second World War broke out, the history of world art experienced extraordinary events. The social movements of those years cause revolutionary trends in artistic creativity. National movements stimulate new ideas and art forms. A highly developed artistic culture in these years is faced with elementary ideological and crude populism. In this period government and the political parties are increasingly insisting on their interest in the arts.

Increasingly, this interest was expressed in a cultural policy, in the spirit of which the rights to the national and classical heritage are proclaimed and modern art movements receive an ideological, political qualification, from which practical conclusions also follow. The painters of that time tried to reflect the intensity of the fierce struggle of the people through the image of Russian nature, for which the presence of alien invaders was alien, many of the events of the war were revealed. The chronicle of mournful losses was forever captured by Russian painting. The events of the Great Patriotic War will never be erased from human memory. To her more than once to address the artists. The deepest drama experienced by mankind over the past decades of the 20th century - the invasion of fascism and the Second World War - has placed historical and artistic processes in the most direct connection and dependence on it. The emigration of architects and artists from countries captured by fascism has made significant changes in demographics artistic culture peace. Escape from fascism, rejection of it by artists who are closed in their inner world, preserving the images and ideals of their work, was an act of spiritual resistance to fascist aggression.

Capital works of easel art are also created in the USSR. In the countries captured by fascism, the art of the Resistance is formed - an artistic movement through political effectiveness and developing its own properties of content and style. This art contains a sharp response to the tragedy of war, embodies the nightmares of fascism in allegorical and concrete event compositions.

Arkady Alexandrovich Plastov

Plastov A.A. was born in 1893 in the village of Rest of the Simbirsk province. His best paintings have become classics of Russian art of the 20th century. Plastov is a great artist of peasant Russia. She looks at us from his paintings and portraits and will remain in eternity as Plastov depicted her.

He was the son of a village bookman and the grandson of a local icon painter. graduated religious school and a seminary. From his youth he dreamed of becoming a painter. In 1914, he managed to enter the MUZhVZ, but he was accepted only to the sculpture department. At the same time he studied painting. In 1917-1925. Plastov lived in his native village; as "literate", he was engaged in various public affairs. Only in the second half of the 1920s. he was able to return to professional artistic work.

In 1931, Plastov A.A. the house burned down, almost everything created by that time perished. The artist is almost forty years old, and he was practically in the position of a beginner. But forty more years of tireless work - and the number of his works approached 10,000. Some portraits - several hundred. Mostly these are portraits of fellow villagers. The artist worked a lot and fruitfully in the 1930s, but he created his first masterpieces during the war years.

Arkady Alexandrovich is a natural realist. Modernist pride, the search for something completely new and unprecedented were completely alien to him. He lived in the world and admired its beauty. Like many Russian realist artists, Plastov is convinced that the main thing for an artist is to see this beauty and be extremely sincere. No need to write beautifully, you need to write the truth, and it will be more beautiful than any fantasy. Every shade, every line in his paintings, the artist repeatedly checked in his work from nature.

Innocence, the complete absence of what is called "manner", distinguishes Plastov even from those wonderful masters, the heir of the pictorial principles of which he was - A.E. Arkhipova, F.A. Malyavin, K.A. Korovin. Plastov A.A. recognizes himself as the successor of the entire national artistic tradition. In the colors of Russian nature, he sees the enchanting colors of our old icons. These colors live in his paintings: in the gold of the grain fields, in the green of the grass, in red, pink and blue color peasant clothes. Russian peasants take the place of the holy ascetics, whose work is both hard and holy, whose life for Plastov is the embodiment of the harmony of nature and man.

Plastov's works reflect the trials of the Soviet people during the Great Patriotic War ("Fascist flew by", 1942), the patriotic work of women, the elderly and children on collective farm fields during the war years ("Harvest", "Haymaking", 1945, both paintings were awarded in 1946 Stalin Prize). The picture "Haymaking" sounded like a colorful anthem of the peaceful life that has come, the joy of the people, who with honor and glory emerged from the hard trials of the war. In the painting "Harvest" - the theme of the war is hidden, it is in the absence of fathers and older brothers of children sitting next to an elderly peasant. Her triumph is in the radiance of the sun's rays, the riot of herbs and flowers, the breadth of the Russian landscape, the simple and eternal joy of labor in her native land.

During the war, the artist lived and worked in the village of Prislonikha. Plastov's canvas "Fascist flew by" (1942) is one of the most disturbing and unforgettable works of art. Russian autumn, with its golden headdress of falling leaves, withering greenery in the fields and the figure of a dead shepherd boy in the foreground, bears traces of senseless military cruelty. At the horizon, the silhouette of a flying German killer plane is barely visible.

And subsequently, in his best works, Plastov kept the achieved level: "Spring" (1952), "Youth" (1953-54), "Spring" (1954), "Summer" (1959-60), "Tractor Drivers' Dinner" (1951) . Among the works of Plastov, the painting "Spring" (1951) also stands out. A poetic feeling of life emanates from this canvas. A young girl, running out of a village bathhouse, carefully dresses a little girl. The artist skillfully conveys the beauty of a young naked female body, the transparency of the still icy air. Man and nature appear here inextricably linked.

It is no coincidence that there is something generalizing in the titles of many of his paintings. Arkady Alexandrovich was given a rare ability to turn real life events, often the most ordinary ones, into an ideal image, as if to discover their innermost, true meaning and significance in the general system of the universe. Therefore, he, a modern Russian realist, so naturally continued the classical artistic tradition.

The happiness of life, the inexplicably sweet feeling of the Motherland literally pour over us from Plastov's paintings. But ... that Russia that Plastov loved so much, of which he was a part, was already fading into the past before his eyes. "From the Past" (1969-70) - this is the name of one of the last major works artist. Peasant family in the field, during a short rest. Everything is so naturally simple and so significant. Peasant Holy Family. The world of harmony and happiness. A piece of heaven on earth.

Plastov's illustrations for the works of Russian poets and prose writers are also interesting. They are very close in their worldview to his paintings. The brightness and emotionality of the concept are distinguished by Plastov's works in the field of illustration ("Frost, Red Nose" by N.A. Nekrasov, 1948; "The Captain's Daughter" by A.S. Pushkin, 1948-1949; works by L.N. Tolstoy, 1953; story A .P. Chekhov, 1954, etc.).

Canvas "Collective farm holiday". For a number of reasons, this work fits the definition of style socialist realism, declared the main Soviet art. True, it should be clarified that the mentioned picture was included in the realistic method with reservations, since it is too bright and defiantly folk. The author overloaded the plot with details several times, but this helped him to create the impression of a natural village fun, devoid of official idleness.

Plastov A.A. - Soviet painter, People's Artist of the USSR. Plein-air genre paintings and landscapes, Plastov's portraits are imbued with a poetic perception of nature, the life of the Russian village and its people ("Fascist flew by", 1942, cycle "People collective farm village", 1951-1965). Lenin Prize (1966) State. USSR Prize (1946).

In 1945, a large period in the history of art of the 20th century ended. The victory of democratic forces over fascism and the grandiose socio-political, national and international changes that followed it decisively rebuilt the artistic geography of the world, introduced serious changes in the composition and course of development of world art. With its new problems, art enters into postwar period when the three main factors determining its development - socio-political, national and international, ideological and artistic - create a new historical and artistic situation.

The spirit of wartime was imbued with the work of artists and sculptors. During the war years, such forms of operational visual agitation as military and political posters and caricatures became widespread. Thousands of copies were issued such posters, memorable for the entire military generation of Soviet people: “Warrior of the Red Army, save!” (V. Koretsky), "Partisans, take revenge without mercy!" (T. Eremin), "The Motherland is calling!" (I. Toidze) and many others. More than 130 artists and 80 poets took part in the creation of the satirical TASS Windows.

Gerasimov Sergey Vasilyevich (1885-1964)

A gifted painter and graphic artist, a master of book illustration, a born teacher, S.V. Gerasimov successfully realized his talent in all these areas of creativity.

He received his art education at the SHPU (1901-07), then at the Moscow School of Painting and Art (1907-12), where he studied with K.A. Korovin and S.V. Ivanova. In his youth, Gerasimov preferred watercolors, and it was in this fine technique that he developed the exquisite color scheme characteristic of his works with silver-pearl overflows of free, light strokes. Along with portraits and landscapes, he often turned to the motifs of folk life, but it was not the narrative and not the ethnographic details that attracted the artist here, but the very element of rural and provincial urban life (“At the Cart”, 1906; “Mozhaisk Rows”, 1908; “Wedding in the Tavern ", 1909). In drawings, lithographs, engravings of the early 1920s. (series "Men") the artist was looking for a sharper, dramatic expression of intense peasant characters. These searches partly continued in painting: "Front-line soldier" (1926), "Collective farm watchman" (1933). Gerasimov is a lyricist by nature, an exquisite landscape painter. His highest achievements are in small natural studies of Russian nature. They are remarkable for their poetry, subtle sense of life, harmony and freshness of color (“Winter”, 1939; “The Ice Passed”, 1945; “Spring Morning”, 1953; series “Mozhaisk Landscapes”, 1950s, etc.). Meanwhile, according to the official hierarchy of genres adopted in his time, a painting with a detailed and ideologically sustained plot was considered a full-fledged work of painting. But to a certain extent, Gerasimov succeeded in such paintings only when he could convey in them a lyrical state that unites poetry. natural environment: “On the Volkhov. Fishermen" (1928-30), "Collective Farm Holiday" (1937).

Attempts to convey dramatic situations were not very convincing (The Oath of the Siberian Partisans, 1933; The Mother of the Partisan, 1947). Among graphic works artist, the illustrations for the poem by N.A. Nekrasov “Who should live well in Rus'” (1933-36) and to the novel by M. Gorky “The Artamonov Case” (1939-54; for them Gerasimov was awarded the gold medal of the 1958 World Exhibition in Brussels). From a young age and throughout his entire career, Gerasimov was enthusiastically engaged in teaching: at the art school at the printing house of the Partnership I.D. Sytin (1912-14), at the State School of Printing under the People's Commissariat of Education (1918-23), in Vkhutemas - Vkhutein (1920-29), Moscow Polygraphic Institute (1930-36), Moscow State Art Institute (1937-50), MVHPU (1950- 64). In 1956 he was awarded the degree of Doctor of Arts.

Alexander Alexandrovich Deineka

Alexander Alexandrovich Deineka was born on May 8 (20), 1899 in Kursk, in the family of a railway worker. He received his initial education at the Kharkov Art School (1915-1917). The youth of the artist, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the section of the Fine Arts Gubnadobraz, designed agitation trains, participated in the defense of Kursk from the whites.

From the army he was sent to study in Moscow, at VKhUTEMAS at the printing department, where his teachers were V.A. Favorsky and I.I. Nivinsky (1920-1925). Great importance in the creative development and in the formation of the artist's attitude, they had years of apprenticeship and communication with V.A. Favorsky, as well as meetings with V.V. Mayakovsky. creative look Deineki was vividly and clearly represented in his works at the very first exhibition in 1924, in which he participated as part of the "Group of Three" (the group also included A.D. Goncharov and Yu.I. Pimenov), and at the First Debating Exhibition of Associations active revolutionary art. In 1925 Deineka became one of the founders of the Society of Easel Painters (OST). During these years, he created the first Soviet truly monumental historical and revolutionary painting, The Defense of Petrograd (1928). In 1928 Deineka became a member of the art association "October", and in 1931-1932 - a member of the Russian Association of Proletarian Artists (RAPH). In 1930, the artist created posters expressive in terms of color and composition “We are mechanizing the Donbass”, “Athlete”. In 1931, paintings and watercolors very different in their mood and subject matter appeared: “On the Balcony”, “The Girl at the Window”, “The Mercenary of the Interventions”.

A new significant stage in the work of Deineka began in 1932. The most significant work of this period is the painting "Mother" (1932). In the same years, the artist created works that were bold in their novelty and poetry: “Night landscape with horses and dry herbs” (1933), “Bathing girls” (1933), “Noon” (1932), etc. Along with works of lyrical sound Socio-political works also appeared: “The Unemployed in Berlin” (1933), drawings filled with anger for the novel “Fire” by A. Barbus (1934). From the mid-1930s, Deineka became interested in contemporary themes. The artist had previously addressed the theme of aviation (Paratroopers over the Sea, 1934), but in 1937, work on illustrations for a children's book by pilot G.F. Baydukov's "Across the Pole to America" (published in 1938) contributed to the fact that the master became interested in aviation with renewed vigor. He painted a number of paintings, one of the most romantic - "Future Pilots" (1937). historical theme found its embodiment in monumental works devoted mainly to pre-revolutionary history. The artist made sketches for panels for exhibitions in Paris and New York. Among the most significant works of the late 1930s and early 1940s is The Left March (1940). During the Great Patriotic War, Deineka created tense and dramatic works. Painting “Outskirts of Moscow. November 1941 "(1941) - the first in this series. Deep suffering is imbued with another work - "The Burnt Village" (1942). In 1942, Deineka created the canvas “The Defense of Sevastopol” (1942), filled with heroic pathos, which was a kind of hymn to the courage of the defenders of the city. Among the significant works of the post-war period are the canvases “By the Sea. Fishermen” (1956), “Military Moscow”, “In Sevastopol” (1959), as well as mosaics for the foyer of the assembly hall of Moscow University (1956), a mosaic for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka's mosaics adorn the Mayakovskaya (1938) and Novokuznetskaya (1943) Moscow metro stations, and for the Good Morning (1959-1960) and Hockey Players (1959-1960) mosaics, he was awarded the Lenin Prize in 1964 .

Deineka taught in Moscow at Vkhutein (1928-1930), at the Moscow Polygraphic Institute (1928-1934), at the Moscow Art Institute named after V.I. Surikov (1934-1946, 1957-1963), at the Moscow Institute of Applied and Decorative Arts (1945-1953, director until 1948), at the Moscow Architectural Institute (1953-1957). He was a member of the presidium (since 1958), vice president (1962-1966), academic secretary (1966-1968) of the department decorative arts Academy of Arts of the USSR. Awarded the Order of Lenin, the Order of the Red Banner of Labor and medals, Hero of Socialist Labor (1969)

June 12, 1969 Alexander Alexandrovich Deineka died in Moscow, was buried at the Moscow Novodevichy Cemetery

Korin Pavel Dmitrievich

Korin Pavel Dmitrievich (1892-1967), Russian artist. Born in Palekh on June 25 (July 7), 1892 in the family of an icon painter. In 1912 he entered the Moscow School of Painting, Sculpture and Architecture, from which he graduated in 1916. Among his mentors were K.A. Korovin and S.V. Malyutin; however, Korin's main teachers were A.A. Ivanov and M.V. Nesterov. Korin lived in Moscow, often visiting Palekh.

The young artist's dreams of creating a large canvas, equivalent to the Ivanovo Messiah, finally took shape in the Donskoy Monastery, on the day of the funeral of Patriarch Tikhon (1925). The thousands of believers inspired Korin to create a Requiem, a painting that would embody "Holy Rus'" at the turn of the tragic change. In line with this idea, he creates wonderful portraits-types (Father and Son, 1930; Beggar, 1933; Abbess, 1935; Metropolitan (future Patriarch Sergius), 1937, etc.; almost all of the works are in the house-museum of Korin); his original style of writing is developed, much more rigid and severe than Nesterov's. At the invitation of M. Gorky (who proposed to name the future picture Rus' is leaving), Korin managed to visit Italy and other European countries in 1931-1932. In the 1930s, work on the outgoing Russia (as a result of direct threats from the NKVD) had to be interrupted. Following the tragically lonely image of Gorky (1932), Korin wrote in 1939-1943 (by order of the Committee for Arts) a series of portraits of Soviet cultural figures (M.V. Nesterov, A.N. Tolstoy, V.I. Kachalov; all - V Tretyakov Gallery; etc.), ceremonial and at the same time sharply dramatic. The triptych Alexander Nevsky (1942-1943, ibid) and the mosaics at the Komsomolskaya metro station (1953), created in the war and post-war years, are imbued with the pathos of struggle and victory. In the post-war decades, Korin completed a compositional sketch of the Requiem (1959, house-museum) and continued a series of "heroic portraits" (S.T. Konenkov, 1947; Kukryniksy, 1958; both portraits in the Tretyakov Gallery; Lenin Prize 1963).

In 1932-1959 Korin directed the restoration workshops of the Museum of Fine Arts named after A.S. Pushkin. Gathered the most valuable collection of ancient Russian art (exhibited - along with the works of the artist himself - in his Moscow house-museum, which opened in 1971).

Windows TASS

“TASS Windows” are propaganda political posters produced by the Telegraph Agency of the Soviet Union (TASS) during the Great Patriotic War of 1941-1945. As well as "Windows of GROWTH" - an art series created by Vladimir Mayakovsky back in the days of the Civil War - this is an original form of propaganda and mass art. Sharp, intelligible satirical posters with short, easy-to-remember poetic texts exposed the enemies of the Fatherland.

Any war is not only a confrontation of armies, weapons and tactical schemes. Any war is a powerful ideological battle, the advantage in which helps to win on the battlefields. The Great Patriotic War became the most striking, visible confirmation of this fact. Defeating the enemy in deadly battles, we defeated him morally. We won in the terrible and disastrous 41st. Because even then they appealed to the best, brightest sides of the human soul. Our war was just, sacrificial, patriotic. We fought for our land, for our people, for the desecrated honor of our country.

In the "Windows of TASS" - a series of posters that were regularly published throughout the war and reflected in a satirical or patriotic form the most significant, current events that took place at the front, in the rear or on international arena, a team of the best artists, writers and poets of that time worked talentedly. "Windows TASS" - colored satirical posters that entered the history of the Great Patriotic War as a unique heroic page, as one of the formidable types of ideological weapons that mercilessly smashed the Nazi invaders and their generals. These posters, as a rule, were made with great skill and had an extraordinary impact on the viewer, giving rise to the flame of Soviet patriotism in him, kindling sacred anger and incinerating hatred for the cruel and mortal enemy who treacherously attacked our Motherland. They were well known at the front and in the rear, in the underground in the occupied territory and in partisan detachments, in many countries of the world, including Germany itself.

The artists were able to convey in caricatures a portrait resemblance to the original and at the same time highlight the most characteristic in the appearance or actions of the fascist leader. Tassovites said that they carefully watched German newsreel, photographs for a long time, studied the characteristic gestures, gait, appearance of their future “heroes”: Hitler, Goebbels, Goering, Himmler and others. Here, in addition to artistic skill, it was necessary to be a subtle psychologist. Boris Efimov recalls: “I read somewhere that in the intimate circle of the Hitlerite elite, Goebbels bore the nickname “Mickey Mouse” after the famous cartoon mouse. I liked this comparison, and I began to portray the "master of the big lie" in the appropriate guise. Kukryniksy depicted Hitler in a feverish movement with a pointing finger, frightening gestures, disheveled hair.

The first poster of "Windows TASS" was released on June 27, 1941, later posters began to appear weekly. More than 130 artists and 80 poets worked at Okny TASS. In a single patriotic impulse, people of various professions worked in the workshop: sculptors, artists, painters, theater artists, graphic artists, art historians.

The main core of the team consisted of those who worked with Vladimir Mayakovsky in the "Windows of ROSTA" in the early 1920s: artists M. Cheremnykh, N. Denisovsky, B. Efimov, V. Lebedev and V. Kozlinsky. Many names of artists and poets who worked at TASS Windows were widely known not only in the Soviet Union, but also in the world - the Kukryniksy trio (Kupriyanov, Krylov, Sokolov), Demyan Bedny, Samuil Marshak, Konstantin Simonov.

Each release of "Windows" in the army was expected no less than the supply of ammunition and military equipment. Communication with the front was maintained constantly. At the door of the workshop on the Kuznetsky Most, one could constantly see front-line cars arriving for the next print run. Often, Tassovites themselves went to the location of military units and arranged impromptu exhibitions of “TASS Windows” right on the front line.

The TASS Windows posters were an effective ideological weapon during the war. They could be seen on the armor of tanks, on planes. The posters infuriated the Nazis. The partisans were especially zealous in kindling this feeling among the invaders. For example, in Kharkov, partisans completely covered up the building of the local Gestapo with TASS Windows. There is no need to explain what the Nazis experienced when they saw so many caustically satirical anti-Nazi posters in the morning. And in Tula and Vitebsk, posters pasted on houses and severely frost-bitten so that there was no way to tear them off the walls were fired upon by the Nazis in a rage. The impotent anger of the Germans towards the TASS Windows was so fierce that Goebbels personally threatened to "hang up all those who work in the TASS Windows immediately after the capture of Moscow by the German troops."

The political department of the Red Army made leaflets small format the most popular "Windows TASS" with texts on German. These leaflets were thrown into the territories occupied by the Nazis, and distributed by partisans. The texts typed in German indicated that the leaflet could serve as a pass for surrender for German soldiers and officers.

Already in the first posters, Tassovites sought to resurrect the heroic past of the Russian people, to once again remind them of the difficult trials that the Russian people endured in the fight against foreign invaders. One of the posters was called “Russian people”. It depicted pictures of the battles of Russian soldiers with the Teutons on Lake Peipus, with the hordes of Mamai, with the Prussian troops, the troops of Napoleon. All these battles ended with the victory of the Russian army.

More than once, legendary historical figures, great Russian generals: Alexander Nevsky, Dmitry Donskoy, Kutuzov, Suvorov became the subject for the image. The winged lines of Pushkin, Lermontov, Griboyedov, Mayakovsky were also often used in posters. Written about other events, they acquired a modern sound.

Without any printing facilities, the team of authors still managed to release a new "Window" every day. At the same time, it is important to note that not a single poster was published, but a whole circulation of several hundred copies (at the end of the war it reached one and a half thousand), which, under the most difficult conditions, were manually stenciled in a workshop on Kuznetsky Most. At the same time, they often worked as a “family contract” - there was enough work for everyone. As soon as the messages of the Sofinformburo were broadcast on the radio, the artists immediately sketched out a sketch, and the poets, often ahead of the artists, wrote poems. Usually, the poster was ready in 24 hours, and in some emergency cases - no more than 4 hours! So, for example, posters were created dedicated to the battle on Kursk Bulge, the capture of Stalingrad, Kharkov. Often the posters used texts already published in the periodical press. So, 18 hours after the publication of K. Simonov's poem "Kill him!" Kukryniksy's poster was created, on which a fascist in the form of a gorilla-like monster with a machine gun in his hands walked over the corpses of women and children. Needless to say, the furious, invocative lines of Konstantin Simonov, combined with the image of the inhuman appearance of the occupier, had a powerful moral impact on the souls of soldiers fighting for their homeland!

"Windows TASS" were printed in several colors using stencils and were the successors of the traditions of Russian folk pictures and the satirical "Windows of ROSTA" of the 1920s. of the last century: concise, well-aimed drawing, sonorous contrasting color, biting, witty text, easy-to-remember rhyme. Here are some text captions on the first posters: “The fascist took the route to the Prut, but the fascist from the Prut rod”, “Each blow of the hammer is a blow to the enemy!”, “Death to the fascist reptile!”, “We knew that the defender of Moscow would not make a mess!” ," Destroying the Nazis without mercy, the naval guns say: whoever beats the enemy near Leningrad defends Stalingrad! You will lay down the enemy in the North - you will help to beat the enemy on the Volga! ”...

The defense of Moscow occupied a special place in the editorial work. In the most difficult conditions of the besieged city, when most of the enterprises and cultural institutions were evacuated to the east of the country, including the main backbone of the editorial office of Okon TASS, a handful of TASS artists, headed by M. Sokolov-Skalya, remained in the city to help with their work Red Army to defend their native capital. In order to convince all Muscovites and fighters at the front that the editorial office is working calmly even in a formidable situation, it was decided to write the date and the word “Moscow” on the stamp of each “window”. In just two months - in October and November - about 200 posters were released! It was truly heroic work. The popularity and significance of the “TASS Windows” was such that already in 1942 at the Historical Museum at the exhibition “The Defeat of the Nazi Troops on the Outskirts of Moscow”, a significant part of the exposition was just posters from the workshop on Kuznetsky Most. This aroused great interest among the inhabitants of the city. From March 22 to May 3, the exhibition was visited by 10,199 people.

"Windows TASS" has gained wide popularity not only in our country, but also abroad. Six exhibitions were held abroad at the beginning of the war - in England, the USA, Latin America, China, Sweden. In China, for example, after viewing an exhibition, 12 Chinese came to the Soviet consulate and applied for admission as volunteers to the Red Army. In Helsinki, where the exhibition was held immediately after Finland ceased to be a German satellite, many visitors left enthusiastic entries in the guest book: “The Soviet Union knows how to fight, but it is also a master of drawing. Brilliant! Let's take off our hats!" One of the American manufacturers sent a letter to Moscow with a request to issue a subscription of “Windows TASS” in his name, motivating his request by the fact that although he does not share the ideology that is carried out in these posters, however, posted in the shops of his enterprises, they significantly contribute to increasing the productivity of workers, which is extremely beneficial. “Some of the Windows,” Vechernyaya Moskva wrote in August 1942, “are completely reprinted abroad and come out as posters with a foreign text.”

The Soviet government highly appreciated the work of the team. In 1942, a group of poets and artists were awarded nine State Prizes. They were received by S. Marshak, Kukryniksy, P. Sokolov-Skalya, G. Savitsky, N. Radlov, P. Shumikhin, M. Cheremnykh. In total, during the war, 1250 posters were issued, which were a truly poetic and artistic chronicle of the Great Patriotic War. There is no doubt that TASS Windows will forever remain one of the brightest pages in the history of our country's culture. A high civil position the best representatives national culture, who brought victory closer with their selfless work in the art workshops on the Kuznetsk bridge, is without a doubt an example of serving the Motherland and its people.

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BATTLE GENRE

In 1503 two great artists Italian Renaissance Leonardo da Vinci and Michelangelo commissioned cardboard for future frescoes, which were supposed to glorify the military successes of the Florentine Republic. Leonardo chose the battle of Anghiari as the plot, depicting a fierce fight between riders on rearing horses. The cardboard was perceived by contemporaries as a condemnation of the brutal madness of war, where people lose their human appearance and become like wild animals.

Copy of P. Rubens from the fresco "Battle of Anghiari" by Leonardo da Vinci
(murals in the hall of the Great Council of the Palace of the Signoria, Florence, 1503-1505)

Preference was given to the work of Michelangelo "The Battle of Kashin", which emphasized the moment of heroic readiness to fight.

Aristotle da Sangallo. Copy of Michelangelo Buonarroti's "Battle of Kashin" (1503-1506) cardboard.
Holkham Hall, Norfolk, UK.

Both cardboards have not been preserved and have come down to us in engravings made in the 16th-17th centuries. according to the drawings of artists who copied these scenes at the beginning of the 16th century. Nevertheless, their influence on the subsequent development of European battle painting was very significant. We can say that it is with these works that the formation of the battle genre begins.

The French word "bataille" (read: batai) means "battle". From him the genre of fine art, dedicated to the themes of war and military life, got its name. The main place in the battle genre is occupied by scenes of battles and military campaigns. Battle artists strive to convey the pathos and heroism of the war. Often they manage to reveal the historical meaning of military events. In this case, the works of the battle genre approach the historical genre (for example, "Surrender of Breda" by D. Velasquez, 1634-1635, Prado, Madrid), rising to high level generalizations of the depicted event, up to the exposure of the anti-human nature of the war (cardboard by Leonardo da Vinci) and the forces that unleashed it (“The suppression of the Indian uprising by the British” by V.V. Vereshchagin, c. 1884; “Guernica” by P. Picasso, 1937, Prado, Madrid) . The battle genre also includes works depicting scenes of military life (life in campaigns, camps, barracks). I recorded these scenes with great observation. french artist 18th century A. Watteau ("Military Rest", "The Burdens of War", both in the State Hermitage Museum).

D. Velasquez. Surrender of Breda.
1634-1635. Canvas, oil.
Prado. Madrid.

Images of scenes of battles and military life have been known since ancient times. Various allegorical and symbolic works glorifying the image of the victorious king were widespread in the art of the Ancient East (for example, reliefs depicting Assyrian kings besieging enemy fortresses), in ancient art (a copy of the mosaic of the battle between Alexander the Great and Darius, IV-III centuries BC), in medieval miniatures.

However, the formation of the battle genre dates back to the 15th-16th centuries. IN early XVII V. an important role in the formation of the battle genre was played by the etchings of the Frenchman J. Callot, who exposed the cruelty of the conquerors, sharply showing the people's disasters during the wars. Along with the canvases of D. Velasquez, which deeply revealed the socio-historical meaning of the military event, there appear passionate paintings of the Fleming J. J. Rubens, imbued with the pathos of the struggle. From the middle of the XVII century. documentary-chronicle scenes of military battles and campaigns predominate, for example, by the Dutchman F. Wauerman (“Cavalry Battle”, 1676, State Hermitage Museum).

In the XVIII - early XIX century. battle painting is developing in France, where the paintings of A. Gro, glorifying Napoleon I, are especially famous. Stunning scenes of the courageous struggle of the Spanish people against the French invaders are captured in the graphics and painting of F. Goya (a series of etchings “The Disasters of War”, 1810-1820). Progressive trend in the development of the battle genre in the XIX-XX centuries. connected with the realistic disclosure of the social nature of wars. Artists expose unjust wars of aggression, glorify national heroism in revolutionary and liberation wars, and instill high patriotic feelings.

A valuable contribution to the development of the battle genre was made by Russian artists of the second half of XIX V. V. V. Vereshchagin and V. I. Surikov. Vereshchagin's paintings denounce militarism, the unbridled cruelty of the conquerors, show the courage and suffering of a simple soldier (“After the attack. Transit point near Plevna”, 1881, State Tretyakov Gallery).

V. V. VERESCHAGIN. With hostility, hurrah, hurrah! (Attack). From the War of 1812 series.
1887-1895. Canvas, oil.
State Historical Museum. Moscow.

Surikov in the canvases “The Conquest of Siberia by Yermak” (1895) and “Suvorov Crossing the Alps” (1899, both in the State Russian Museum) created a majestic epic of the feat of the Russian people, showed it heroic strength. F. A. Rubo strove for an objective display of hostilities in his panoramas “Defense of Sevastopol” (1902-1904) and “Battle of Borodino” (1911).

V. I. Surikov. "Conquest of Siberia by Yermak"
1895. Oil on canvas.

V. I. Surikov. "Conquest of Siberia by Yermak"
1895. Oil on canvas.
State Russian Museum, St. Petersburg

The works of Soviet battle painters reveal the image of a Soviet patriot warrior, his steadfastness and courage, and his unparalleled love for the Motherland. Already in the 1920s. M. B. Grekov created unforgettable images of the fighters of the civil war (“Tachanka”, 1925). A. A. Deineka showed the harsh pathos of this era in the monumental canvas "Defense of Petrograd" (1928, Central Museum of the Armed Forces, Moscow).

M. B. Grekov. Tachanka.
1933. Oil on canvas.
Central Museum of the Armed Forces. Moscow.

The battle genre experienced a new rise in the terrible days of the Great Patriotic War of 1941-1945. in the works of the Studio of Military Artists named after M. B. Grekov, Kukryniksy, A. A. Deineka, B. M. Nemensky, P. A. Krivonogov and other masters. The unbending courage of the defenders of Sevastopol, their firm determination to fight to the last breath, was shown by Deineka in the picture “Defense of Sevastopol” (1942, State Russian Museum).

A. A. Deineka. "Defense of Sevastopol".
1942. Oil on canvas.

A. A. Deineka. "Defense of Sevastopol".
1942. Oil on canvas.
State Russian Museum, St. Petersburg

Modern Soviet battle painters revived the art of dioramas and panoramas, created works on the themes of the civil (E. E. Moiseenko and others) and the Great Patriotic Wars (A. A. Mylnikov, Yu. P. Kugach and others).

STUDIO OF MILITARY ARTISTS NAMED AFTER M. B. GREKOV

The emergence of the studio is inextricably linked with the name of the remarkable artist Mitrofan Borisovich Grekov, one of the pioneers of Soviet battle painting. His canvases "Tachanka", "Trumpeters of the First Cavalry Army", "To the Detachment to Budyonny", "Banner and Trumpeter" are among classical works Soviet painting.

In 1934, after the death of the artist, by a special resolution of the Council of People's Commissars, the "M. B. Grekov Art Workshop of Amateur Red Army Art" was created in Moscow. The studio was called upon to continue and creatively develop the best traditions of the Soviet battle genre. Initially, it was a training workshop for the most gifted artists of the Red Army, who improved their skills under the guidance of prominent artists: V. Baksheev, M. Avilov, G. Savitsky and others. In 1940, the studio became the art organization of the Red Army, uniting military artists.

During the Great Patriotic War, many Greeks went to the front. The main type of creative work in military conditions was full-scale sketches. Their historical and artistic significance cannot be overestimated. Military drawings by N. Zhukov, I. Lukomsky, V. Bogatkin, A. Kokorekin and other artists are a kind of visible chronicle of the Great Patriotic War, its main military battles, front-line life. They are marked big love to the main character the greatest battle for the Motherland - to the Soviet soldier.

The theme of the feat of the people in the Great Patriotic War was creatively enriched even after its completion. In the first post-war years, the Greeks created canvases, graphic series, sculptural compositions which received the widest recognition. These are the paintings "Mother" by B. Nemensky, "Victory" by P. Krivonogov, a monument to the Liberator E. Vuchetich, installed in Treptow Park in Berlin.

Studio artists have created and are creating many monumental monuments military glory in various cities of Russia and abroad. The most significant battles are captured in such works as the panorama " Battle of Stalingrad"in Volgograd (performed by a group of artists led by M. Samsonov), the diorama "Battle of Perekop" in Simferopol (author N. But), etc. achieved a great victory the Soviet people.

In the work of artists, the life of the Soviet Army, its peaceful everyday life, and military exercises were reflected in various ways. The works of the leading masters of the studio N. Ovechkin, M. Samsonov, V. Pereyaslavets, V. Dmitrievsky, N. Solomin and others reveal the image of a Soviet warrior, a man of high moral purity, ideological commitment, selflessly loving his Motherland.

For more than 80 years of its existence, the studio has participated in the creation of large-scale government projects. More than 70 panoramas and dioramas were created by her artists, starting from the first Soviet panorama "The Battle of Stalingrad", ending with a cycle of 6 dioramas in the Central Museum of the Great Patriotic War on Poklonnaya Hill. The artists of the Grekov Studio created masterpieces of the monumental-historical genre, landmark works for the history, as well as ambitious foreign projects - the panorama "Pleven epic of 1877" in Bulgaria, the picturesque design of the Ataturk Mausoleum in Ankara and the Main Military Museum in Istanbul, etc.

A diverse thematic range of works by the Greeks, which reveal not only military-patriotic, but also religious-spiritual, lyrical themes, represents the artistic wealth of classical Russian art, embodied in tens of thousands of paintings, drawings and sculptures.

BATTLE PAINTING, or battle painting (from the French bataille - battle) is a genre of painting dedicated to military subjects. The battle genre includes not only scenes of direct battles, but also scenes of military life. Battalistics is a division history painting. It also comes into contact with everyday life (scenes of military life), portrait (portraits of military leaders, soldiers), landscape, animalistic (in the depiction of cavalry) genres, as well as still life (image of weapons and other attributes of military life). The formation of the battle genre began in the 16th century, but scenes of battles and battles are already found in rock paintings, in antique frescoes and mosaics, medieval book miniatures, on carpets and tapestries. The true heyday of the genre begins in the Renaissance, when interest in history increased and there was a desire to portray the fierceness of the battle, to glorify the feat and the hero who accomplished it. Among the authors who turned to battle painting in the Renaissance were such artists as Leonardo da Vinci, Michelangelo, Titian, Tintoretto. In the 17th century, in addition to the tasks facing the masters of BATTLE PAINTING, an interest in human psychology("Surrender of Breda" by D. Velazquez, 1634), and in the era of romanticism - indignation against the cruelty of the conquerors and sympathy for the freedom fighters ("Massacre on the island of Chios" by E. Delacroix, 1826).
In Russia, battle scenes are already found in icons and book miniatures. In the 18th century, engravings dedicated to northern war created by A.F. Zubov. The battle genre in Russia flourishes in the second half of the 19th century. In the monumental canvases of the epics of V.I. Surikov ("The Conquest of Siberia by Ermak", 1895; "Suvorov's Crossing the Alps", 1899), the whole people appears as a hero. Despite the fact that the main goal of BATTLE PAINTING is the glorification of military prowess, the triumph of victory, the heroic readiness to fight, many artists turned to the other side of the war - inhuman, life-taking. Among these artists was the painter V.V. Vereshchagin, who himself took part in hostilities. In his paintings of the Turkestan (1871-74) and Balkan series (1877 - 1880s), not the heroism of victories is presented, but the unvarnished truth about the war ("The Apotheosis of War", 1871). Masters of the battle genre depicting naval battles, in Russia were I.K. Aivazovsky and A.P. Bogolyubov. In the 20th century, the traditions of the battle genre were continued by M.B. Grekov and the Studio of Military Artists founded by him, as well as by the master of panoramas F. Roubaud. A new rise in BATTLE PAINTING in Russia came during the Great Patriotic War and the post-war years - in posters and "TASS Windows", front-line painting and graphics.
In the section of paintings dedicated to BATTLE PAINTING, there are items related to military theme, depicting scenes of battles, wars, military campaigns, as well as portraits of the military. In this section you will find not only paintings, but also posters, lithographs and watercolors on military themes. We offer you to buy items from the BATTLE PAINTING section in our Consignment Antique Shop. The BATTLE PAINTING section is constantly updated, stay tuned for new arrivals.