What is Marina and the battle genre of art. Battle painting

Cardboards were ordered for future frescoes, which were supposed to glorify the military successes of the Florentine Republic. Leonardo chose the Battle of Anghiari as his subject, depicting a fierce fight between riders on rearing horses. Carton was perceived by contemporaries as a condemnation of the brutal madness of war, where people lose their human appearance and become like wild animals. Preference was given to Michelangelo’s “Battle of Cascina,” which emphasized the moment of heroic readiness to fight. Both cardboards have not survived and have come down to us in engravings made in the 16th-17th centuries. based on drawings by 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" 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 war. Often they manage to reveal the historical meaning of military events. In this case, works of the battle genre come closer to the historical genre (for example, “The Surrender of Breda” by D. Velazquez, 1634-1635, Prado, Madrid), rising to high level generalizations of the depicted event (cardboard by Leonardo da Vinci) (“Suppression of the Indian Uprising by the British” by V.V. Vereshchagin, ca. 1884; “Guernica” by P. Picasso, 1937, Prado, Madrid). The battle genre also includes works depicting scenes of military life (life in campaigns, camps, barracks). The French artist of the 18th century recorded these scenes with great observation. A. Watteau (“Military Rest”, “The Hardships of War”, both in the State Hermitage).

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

In the Middle Ages, battles were depicted in European and oriental book miniatures ("Facebook Chronicle", Moscow, 16th century), sometimes on icons; images on fabrics are also known ("The Bayeux Carpet" with scenes of the Norman feudal lords conquering England, circa 1073-83); There are numerous battle scenes in the reliefs of China and Kampuchea, Indian paintings, and Japanese painting. In the 15th-16th centuries, during the Renaissance in Italy, images of battles were created by Paolo Uccello and Piero della Francesca. Battle scenes received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci ("Battle of Anghiari", 1503-06), who showed the fierce ferocity of the battle, and Michelangelo ("Battle of Cascina", 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 - innumerable masses of warriors ("Battle of Dawn", circa 1585). In the formation of the battle genre in the 17th century. A major role was played by the acute 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. Velazquez ("Surrender of Breda", 1634), the dynamics and drama of the battle paintings of the Fleming P. P. Rubens. Later, professional battle painters emerged (A.F. van der Meulen in France), types of conditionally allegorical composition were formed, exalting the commander presented against the background of the battle (C. Lebrun in France), a small battle painting with a spectacular depiction of cavalry skirmishes, episodes of military life (F. Wauerman in Holland) and scenes of naval battles (W. van de Velde in Holland). In the 18th century In connection with the War of 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 “Battle of Poltava”, attributed to I. N. Nikitin, engravings by A.F. Zubov, mosaic from the workshop of M.V. Lomonosov “The Battle of Poltava” (1762-64), battle-historical compositions by G.I. Ugryumov, watercolors by M.M. Ivanov. The Great French Revolution (1789-94) and the Napoleonic Wars were reflected in the works of many artists - A. Gro (who went from being fascinated by the romance of revolutionary wars to the exaltation of Napoleon I), T. Gericault (who created 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 clearly expressed in the battle-historical paintings of E. Delacroix, inspired by the events of the July Revolution of 1830 in France. The national liberation movements in Europe were inspired by 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, etc. In France in Official battle painting (O. Vernet) combined false-romantic effects with external plausibility. Russian academic battle painting moved from traditionally conventional compositions with a commander in the center to greater documentary accuracy of the overall picture of the battle and genre details (A. I. Sauerweid, B. P. Villevalde, A. E. Kotzebue). Outside the academic tradition of the battle genre were I. I. Terebenev’s popular prints dedicated to the Patriotic War of 1812, “Cossack scenes” in Orlovsky’s lithographs, drawings by P. A. Fedotov, G. G. Gagarin, M. Yu. Lermontov, lithographs by V. F. Timma.

The development of realism in the second half of the 19th - early 20th centuries. led to the strengthening of landscape, genre, and sometimes psychological principles in the battle genre, attention to the actions, experiences, and everyday life of ordinary soldiers (A. Menzel in Germany, G. Fattori in Italy, W. Homer in the USA, M. Gierymsky in Poland, N. Grigorescu in Romania, J. Veshin in Bulgaria). A realistic depiction of the episodes of the Franco-Prussian War of 1870-71 was given by the French E. Detail and A. Neuville. In Russia, the art of sea battle painting flourishes (I.K. Aivazovsky, A.P. Bogolyubov), battle-everyday painting appears (P.O. Kovalevsky, V.D. Polenov). V.V. made a valuable contribution to the development of the battle genre Vereshchagin (“After the attack. Transfer point near Plevna”, 1881, Tretyakov Gallery). F. A. Rubo strived for an objective display of military actions in his panoramas “Defense of Sevastopol” (1902-1904) and “Battle of Borodino” (1911). Realism and rejection of conventional schemes are also inherent in the battle genre of the Itinerants - I. M. Pryanishnikova , A.D. Kivshenko, V.I. Surikov, who created a monumental epic of the military exploits of the people

Surikov in the canvases “The Conquest of Siberia by Ermak” (1895) and “Suvorov’s Crossing of the Alps” (1899, both in the State Russian Museum) created a majestic epic of the feat of the Russian people, showed their heroic strength. The battle works of V. M. Vasnetsov were inspired by the ancient Russian epic.

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

However, the formation of the battle genre dates back to the 15th-16th centuries. At the beginning of the 17th century. A major role in the development of the battle genre was played by the etchings of the Frenchman J. Callot. Along with the canvases of D. Velazquez, which deeply revealed the socio-historical meaning of the military event, passionate paintings by the Flemish P. P. Rubens appeared, imbued with the pathos of struggle. From the middle of the 17th century. Documentary chronicle scenes of military battles and campaigns predominate, for example, by the Dutchman F. Wauerman (“Cavalry Battle”, 1676, GE).

R. Guttuso. Battle of Garibaldi at the Amiraglio Bridge. 1951-1952. Canvas, oil. Filtrinelli Library. Milan.

In the XVIII - early XIX centuries. battle painting is developing in France, where A. Gro’s paintings 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 paintings of F. Goya (a series of etchings “Disasters of War”, 1810-1820).

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

A. A. Deineka. Defense of Sevastopol. 1942. Oil on canvas. State Russian Museum. Leningrad.

The works of Soviet battle painters reveal the image of the Soviet patriotic warrior, his fortitude and courage, and unparalleled love for the Motherland. 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 until their last breath was shown by Deineka in the film “Defense of Sevastopol” (1942, Russian Russian Museum), imbued with heroic pathos. Modern Soviet battle painters have revived the art of dioramas and panoramas, and created works on the themes of the Civil War (E. E. Moiseenko and others) and the Great Patriotic War (A. A. Mylnikov, Yu. P. Kugach, etc.).

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

Studio of military artists named after M. B. Grekov

The emergence of the studio is inextricably linked with the name of the wonderful artist Mitrofan Borisovich Grekov, one of the founders of Soviet battle painting. His paintings “Tachanka”, “Trumpeters of the First Cavalry Army”, “In the Detachment to Budyonny”, “Flagman and Trumpeter” are among the classic works of Soviet painting.

In 1934, after the artist’s death, by a special resolution of the Council of People’s Commissars, the “Art Workshop of Amateur Red Army Art named after M. B. Grekov” 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 Red Army artists, who improved their skills under the guidance of prominent artists: V. Baksheev, M. Avilov, G. Savitsky and others. In 1940, the studio became an 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, and front-line life. They are marked by great love for the main character of this greatest battle for the Motherland - the Soviet soldier.

The theme of the people's feat in the Great Patriotic War is creatively enriched at the present time. In the first post-war years, the Greeks created canvases, graphic series, and sculptural compositions that received the widest recognition. These are the paintings “Mother” by B. Nemensky, “Victory” by P. Krivonogov, the monument to the Liberator Soldier E. Vuchetich, installed in Treptower Park in Berlin.

The studio's artists have created and are creating many monumental monuments of military glory in various cities of the Soviet Union and abroad. The most significant battles are depicted in such works as the panorama “Battle of Stalingrad” in Volgograd (made by a group of artists under the leadership of M. Samsonov), the diorama “Battle for Perekop” in Simferopol (author N. But) and others. In these works, it is as if anew The events of the war come to life, they help to realize at what enormous cost the great victory was achieved.

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Target: to acquaint students with the history of the development of historical and battle genres in painting and graphics.

Tasks.

Consider scenes of combat as the basis of an artistic chronicle of a people's feat before the emergence of the historical genre.
Introduce engravings to medieval heroic tales.
Consider the historical genre through the work of V. Surikov.

Equipment: MMU, presentation

During the classes

I. Organizational part.

II. Setting the topic of the lesson.

Excerpt from "The Tale of Igor's Campaign." (slide1)

Igor the Prince with a mighty squad
Mila is waiting for brother Vsevolod.
Vsevolod says: "One
You are my brother, my Igor, and my stronghold!
Children of Svyatoslav we are with you,
So saddle up your greyhound horses, brother!
And mine have long been ready for battle,
Near Kursk they stand under saddle.

And the Kursk people are nice -
The knights are serviceable:
Born under the pipes
Grew up under helmets,
We grew up like warriors
From the end of the spear they are fed.
All paths are known to them,
All yarugi are known,
Their bows are drawn,
The quivers are open
Their sabers are sharpened,
Sheloms are gilded.
They themselves gallop across the field like wolves
And, always ready to fight,
Mined with sharp swords
Glory to the prince, honor to yourself!”

Students formulate the topic of the lesson. (Study of the genre of painting depicting military actions)

III. Communicating new knowledge.

Historical genre.

A genre of visual art that deals with historical events and characters is called historical genre. The historical genre, which is characterized by monumentality, has been developing for a long time in wall painting. From the Renaissance to the 19th century. artists used subjects from ancient mythology and Christian legends. Often real historical events depicted in the picture were saturated with mythological or biblical allegorical characters. The historical genre is intertwined with others - the everyday genre (historical and everyday scenes), the portrait (depictions of historical figures of the past, portrait-historical compositions), landscape ("historical landscape"), and merges with the battle genre. The historical genre is embodied in easel and monumental forms, in miniatures, and illustrations. Originating in ancient times, the historical genre combined real historical events with myths. In the countries of the Ancient East, there were even types of symbolic compositions (the apotheosis of the military victories of the monarch, the transfer of power to him by a deity) and narrative cycles of paintings and reliefs. In Ancient Greece there were sculptural images of historical heroes (Tyrannicides, 477 BC), in Ancient Rome reliefs were created with scenes of military campaigns and triumphs (Trajan's Column in Rome, c. 111-114). In the Middle Ages in Europe, historical events were reflected in miniature chronicles and icons.

Student's story.

The historical genre in easel painting began to take shape in Europe during the Renaissance, in the 17th and 18th centuries. it was considered as a “high” genre, highlighting (religious, mythological, allegorical, historical subjects). One of the first realistic easel paintings was Velazquez's Surrender of Breda (1629-1631, Madrid, Prado). Paintings of the historical genre were filled with dramatic content, high aesthetic ideals, and the depth of human relationships: Tintoretto’s Battle of Dawn (c. 1585, Venice, Doge’s Palace), N. Poussin The Generosity of Scipio (1643, Moscow, Pushkin State Museum of Fine Arts), J.L. David Oath of the Horatii (1784, Paris, Louvre), E. Manet The shooting of Emperor Maximilian (1871, Budapest, Museum of Fine Arts). ..... (slides 3-8)

The battle genre (from the French bataille - battle) is a genre of fine art dedicated to the themes of war and military life. The main place in the battle genre is occupied by scenes of land, sea battles and military campaigns. The artist strives to capture a particularly important or characteristic moment of the battle, to show the heroism of war, and often to reveal the historical meaning of military events, which brings the battle genre closer to the historical one. And scenes of military life (in campaigns, barracks, camps) often associate it with the everyday genre. (slide 9)

The formation of the modern battle genre began in the 16th century.

The first attempts at realistic depictions of battles date back to the Renaissance in Italy. Gradually, official battles are being replaced by images of real military episodes.

A student's story.

In Russia, the active development of the battle genre began in the 18th century - from the time of the grandiose victories of Peter I and his commanders. These are the paintings “Battle of Kulikovo”, “Battle of Poltava” attributed to I.N. Nikitin (c. 1690-1750), engravings by A.F. Zubov with naval battles.

The Russian battle genre (battle paintings) is imbued with a special spirit of patriotism and strives to express admiration for the heroism and courage of warriors. The victories of Suvorov and Kutuzov inspired Russian artists to paint pictures and canvases glorifying the courage and heroism of Russian soldiers.

This tradition was also preserved by battle painters of the 20th century. The battle genre experienced a new rise during the Great Patriotic War and the post-war years - in posters and “TASS Windows”, front-line graphics, painting, and later in monumental sculpture.

Particularly in the battle genre and battle paintings of the domestic school, one can highlight the creation of diaras and panoramas dedicated to historical battles and battles.

The history of Russia is filled and saturated with wars and battles. In this regard, Russian battle painters created many beautiful works of art of domestic and world significance.

Battle paintings are one of the components of the battle genre. Beautiful battle paintings painted in oil on canvas by outstanding Russian artists are presented in museums in Moscow and St. Petersburg.

(slides 10-15)

IV. Consider reproductions - working with the textbook pp. 99-103

V. Dialogue about art (slide 16)

Why did “The Lay of Igor’s Campaign” and the Battle of Kulikovo have such a great influence on artists?
What did domestic artists most often emphasize in depicting events of the distant past?
By what means did they convey the pathos of the struggle for the independence of the Russian state and the idea of unifying Russian lands around Moscow?
Which piece did you particularly like? Explain why?

VI. Preparation for practical work.

Choose the theme and plot of the battle composition. The plot is a more private, specific embodiment of the theme.

Remember that when applying the laws, perspective and appropriate coloring will help you create not only a convincing, but also an expressive, original composition of historical medieval battles.

When sketching the composition, immediately determine the location of the battle, siege, or hostilities.

Don't forget about the rules of composition. Highlight the compositional center and give balance to the composition. The center of the composition includes the plot with the main characters.

VII. Practical work.

Draw a drawing on the theme of medieval warfare of your choice: a battle near a fortress wall, a duel, etc.

Materials: gouache, ink, crayons, paper.

Fizminutka (slide 18)

VIII. Summarizing.

The general pathos of the works of Russian artists on the theme of feat of arms, executed in different techniques and genres, can be expressed in the words of N.K. Roerich: “The most numerous enemies of the Russian land were put to shame by the unbreakable spirit of the Russian army and the sacrificial selflessness of the entire people.”

But the sun rises in the sky -
Prince Igor appeared in Rus'.
Songs flow from the distant Danube,
Flying across the sea to Kyiv.
According to Borichev, the daring rises
To the Holy Mother of God of Pie.
And the countries are happy
And the cities are merry.
We sang a song to the old princes,
The time has come for us to praise the young:
Glory to Prince Igor,
Buoy tour to Vsevolod,
Vladimir Igorevich!
Glory to everyone who spared no effort.
Beaten up filthy regiments for Christians!
Be healthy, prince, and the whole squad is healthy!
Glory to the princes and glory to the squad!
(The Lay of Igor's Campaign)

IX. Reflection.

Materials used.

http://old-russian.chat.ru/ - Ancient Russian literature
Textbook Fine Arts for 6th grade. Authors: T.Ya. Shpikalova.

The origins of battle painting depicting military battles can be found in the culture of Ancient Greece and Rome, as well as many eastern countries - India, Japan, China. Wars for land, water and wealth have been fought for centuries, so it is not surprising that fragments of battles can be found on frescoes in Buddhist temples and ancient palaces, in the tombs of Egyptian pharaohs and on the pages of books dating back to the 5-7 centuries AD.

The formation of the battle genre dates back to the heyday of the Renaissance, when special attention was paid to the study of the cultural heritage of past centuries. Trying to recreate key events of various periods, artists became convinced that it was wars that had the greatest impact on the course of history. And even in mythology, great attention was paid to them, since only in battle the character traits of ancient heroes were most fully revealed.

The founders of the battle genre are the Italian masters of painting Vecello Titian, Buonarroti Michelangelo, Piero Della Francesca, Jacopo Tintoretto, Paolo Ucello. Later, images of historical battles are found in the paintings of Diego Velazquez and Peter Rubens.

By the mid-19th century, several trends were emerging in battle painting related to the depiction of naval battles, foot and horse attacks. In addition, portraits of great commanders against the backdrop of battle and scenes from the lives of soldiers, echoing paintings in the everyday genre, are becoming fashionable.

The wars of the Napoleonic era and national liberation movements in Europe give a new impetus to the development of battle painting, which is gaining enormous popularity. Even those artists who reject such a trend in fine art as realism create their works in this genre. Francisco Goya and Henry Van de Velde, Charles Lebrun and Antoine Gros, Philips Wauerman and Horace Vernet, Adolf Jebens and Peter von Hess devote their paintings to the turbulent military events of the 19th century.

In Russia, by this time, a fairly strong school of battle painting was also being formed, the brightest representatives of which were Franz Roubaud, Nikolai Dmitriev-Orenburgsky, Alexander Sauerweid, Vasily Vereshchagin, Mitrofan Grekov, Mikhail Avilov, Nikolai Karazin, Alexander Averyanov. At different periods of their work, such famous Russian painters as Karl Bryullov, Orest Kiprensky and Ivan Aivazovsky turned to battle subjects.

However, the largest number of artistic works are devoted to the events of the Second World War, which is widely reflected in the works of such Russian Soviet painters as Anatoly Sokolov, Rudolf Frenz, Pyotr Maltsev, Ivan Vladimirov, Pyotr Krivonogov and Ivan Petrov.

Today, many famous artists create their works in the genre of battle painting, including Wu Guanyu, Igor Egorov, Pyotr Lyubaev, Olesya Maidibor.

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Battle genre

The battle genre (from the French bataille - battle), a genre of fine art dedicated to the themes of war and military life. The main place in the battle genre is occupied by scenes of battles (including sea battles) and military campaigns of the present or past. The desire to capture a particularly important or characteristic moment of a battle, and often to reveal the historical meaning of military events, brings the battle genre closer to the historical genre. Scenes of everyday life in the army and navy found in works of the battle genre echo the everyday genre. Progressive trend in the development of the battle genre of the 19th-20th centuries. is associated with a realistic disclosure of the social nature of wars and the role of the people in them, with the exposure of unjust aggressive wars, with the glorification of popular heroism in revolutionary and liberation wars, with the education of civil patriotic feelings among the people. In the 20th century, in the era of destructive world wars, works that reflect the cruelty of imperialist wars, the innumerable suffering of peoples, and their readiness to fight for freedom are closely connected with the battle genre, historical and everyday genres.

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 (“Facebook Chronicle”, Moscow, 16th century), sometimes on icons; images on fabrics are also known (“The Bayeux Carpet” with scenes of the Norman feudal lords conquering England, circa 1073-83); There are numerous battle scenes in the reliefs of China and Kampuchea, Indian paintings, and Japanese painting. In the 15th-16th centuries, during the Renaissance in Italy, images of battles were created by Paolo Uccello and Piero della Francesca. Battle scenes received heroic generalization and great ideological content in cardboards for frescoes by Leonardo da Vinci (“Battle of Anghiari”, 1503-06), who showed the fierce ferocity of the battle, and Michelangelo (“Battle of Cascina”, 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 - innumerable masses of warriors ("Battle of Dawn", circa 1585). In the formation of the battle genre in the 17th century. a major role was played by the acute 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. Velazquez (“Surrender of Breda”, 1634), the dynamics and drama of the battle paintings of the Flemish P.P. Rubens. Later, professional battle painters emerged (A.F. van der Meulen in France), types of conventionally allegorical compositions were formed, exalting the commander presented against the backdrop of the battle (C. Lebrun in France), a small battle painting with a spectacular depiction of cavalry skirmishes, episodes of military life (F. Wauerman in Holland) and scenes of naval battles (W. van de Velde in Holland). In the 18th century in connection with the War of 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 “Battle of Poltava”, attributed to I.N. . Nikitin, engravings by A.F. Zubov, mosaic from the workshop of M.V. Lomonosov “Battle of Poltava” (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 works of many artists - A. Gro (who went from being fascinated by the romance of revolutionary wars to the exaltation of Napoleon I), T. Géricault (who created 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 clearly expressed in the battle-historical paintings of E. Delacroix, inspired by the events of the July Revolution of 1830 in France. The national liberation movements in Europe were inspired by 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, etc. In France in Official battle painting (O. Vernet) combined false-romantic effects with external plausibility. Russian academic battle painting moved from traditionally conventional compositions with a commander in the center to greater documentary accuracy of the overall picture of the battle and genre details (A.I. Sauerweid, B.P. Villevalde, A.E. Kotzebue). Luboks by I.I. stood outside the academic tradition of the battle genre. 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 19th - early 20th centuries. led to the strengthening of landscape, genre, and sometimes psychological principles in the battle genre, attention to the actions, experiences, and everyday life of ordinary soldiers (A. Menzel in Germany, G. Fattori in Italy, W. Homer in the USA, M. Gierymsky in Poland, N. Grigorescu in Romania, J. Veshin in Bulgaria). A realistic depiction of the episodes of the Franco-Prussian War of 1870-71 was given by the French E. Detail and A. Neuville. In Russia, the art of naval battle painting flourishes (I.K. Aivazovsky, A.P. Bogolyubov), and battle-everyday painting appears (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 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, who was inspired by the ancient Russian epic. The greatest master of battle panorama was F.A. Rubo.

In the 20th century social and national liberation revolutions, unprecedentedly destructive wars radically changed the battle genre, expanding its boundaries and artistic meaning. Many works of the battle genre raised historical, philosophical and social issues, problems of peace and war, fascism and war, war and human society, etc. 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. Maserel, the German artists K. Kollwitz and O. Dix, the Englishman F. Brangwyn, the Mexican H.C. 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 of the people's tragedy.

In Soviet art, the battle genre was very widely developed, 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 highlighted the image of the Soviet patriotic warrior, his fortitude and courage, love for the Motherland and the will to win. The Soviet battle genre was formed in the graphics of the Civil War period 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. Samokisha, R.R. Frentz; it experienced a new rise 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. Pakhomova, B.I. Prorokov and others, paintings by Deineka, Kukryniksy, members of the Studio of Military Artists named after M.B. Grekova (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. Tsigala and others.

In the art of socialist countries and in the progressive art of capitalist countries, works of the battle genre are devoted to the depiction of anti-fascist and revolutionary battles, the largest events of national history (K. Dunikowski in Poland, J. Andreevich-Kun, G.A. Kos and P. Lubarda 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. Drawing by P.P. Rubens. Louvre. Paris

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

V.V. Vereshchagin. "They attack by surprise." 1871. Tretyakov Gallery. Moscow

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

battle fine military battle

The formation of the battle genre began in the Renaissance (Leonardo da Vinci, Michelangelo, Titian, Tintoretto), it experienced its heyday in the 17th-18th centuries. (D. Velazquez, Rembrandt, N. Poussin, A. Watteau) and especially vividly conveys the tragedy of 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, glorify military valor, 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, etc.).

Formation of B. dates back to the 16th-17th centuries, but images of battles have been known in art since ancient times. Reliefs of the Ancient East represent a king or commander exterminating enemies, sieges of cities, processions of warriors. In ancient Greek vase paintings, reliefs on the pediments and friezes of temples, the military valor of mythical heroes is glorified as a moral example; a unique depiction of the battle between Alexander the Great and Darius (Roman mosaic copy of a Hellenistic sample from the 4th-3rd centuries BC). Reliefs on ancient Roman triumphal arches and columns glorify the conquests and victories of 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 (“Facebook Chronicle”, Moscow, 16th century), sometimes on icons; There are numerous battle scenes in the reliefs of China and Cambodia, Indian paintings, and Japanese paintings. The first experiments in realistic depictions of battles date back to the Renaissance in Italy (Paolo Uccello, Piero della Francesca - 15th century); it received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci (“Battle of Anghiari”, 1503-06), who showed the fierce ferocity of the battle and the “brutal madness” of civil strife, and Michelangelo (“Battle of Cascina”, 1504-06 ), who emphasized heroic readiness to fight; Titian introduced a real environment into the battle scene (the so-called “Battle of Cadore”, 1537-38), and Tintoretto introduced countless masses of warriors (“Battle of Dawn”, circa 1585).

In the formation of B. in the 17th century a major role was played by the acute 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. Velazquez (1634-35), the dramatic passion of the battle paintings of the Flemish P.P. Rubens. Later, professional battle painters emerged (A.F. van der Meulen in France), types of conventionally allegorical compositions were formed, exalting the commander presented against the backdrop of the battle (C. Lebrun in France), a small battle painting with a spectacular (but indifferent to the meaning of the events ) depicting cavalry skirmishes or episodes of military life (S. Rosa in Italy, F. Wauerman in Holland) and scenes of a naval battle (W. van de Velde in Holland). In the 18th century conventional official battles were opposed by truthful depictions of the hardships of camp and camp life (A. Watteau in France), and later by paintings by American painters (B. West, J.S. Copley, J. Trumbull), who brought sincere pathos and fresh observations to the depiction of the military episodes: the Russian patriotic B. was born. - paintings “Battle of Kulikovo” and “Battle of Poltava”, attributed to I.N. Nikitin, engravings by A.F. Zubov with naval battles, mosaic from the workshop of M.V. Lomonosov “Battle of Poltava” (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 battle paintings by A. Gro (who came from a fascination with the romance of revolutionary wars to the false exaltation of Napoleon and the external effectiveness of the exotic surroundings), 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 graphics 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 dramatically passionate tension of mass battles, the cruelty of the conquerors, and the inspiration of freedom fighters.

Liberation movements inspired 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. In France, the romantic legend of Napoleon colors the semi-genre paintings of N.T. Charlet and O. Raffe. In the dominant official battle painting (O. Berne), nationalist concepts and false-romantic effects were combined with external plausibility. Russian academic battle painting moved from traditional conventional compositions with a commander in the center (V.I. Moshkov) to greater documentary accuracy of the overall picture of the battle and genre details (A.I. Sauerweid, B.P. Willewalde and especially A.E. Kotzebue) , but even K.P. could not overcome her traditional spirit of idealization. Bryullov, who tried to create a folk-heroic epic in the Siege of Pskov (1839-43). Outside the academic tradition of B. zh. there were popular prints of I.I. Terebenev, dedicated to the people’s 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. Timm on the themes of the Crimean War 1853-56.

The apotheosis of war in the vision of V.V. Vereshchagin.

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

Stopping in Samarkand, occupied by the Russians, Vereshchagin began studying the life and way of 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 Russians 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 exchanged a pencil for a gun, joined the ranks of the defenders.

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

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

To summarize the material accumulated in Turkestan, Vereshchagin settled in Munich from the beginning of 1871, where he began creating a large series of paintings. A number of battle paintings were combined by the artist into a series, which he called “Barbarians.” In the paintings in this series: “Looking 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 "Apotheosis of War" (1871-1872), depict interconnected episodes from the Turkestan War, telling about its cruelty. The final painting 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-out gardens. Flocks of hungry birds of prey circle over the pyramid and land on the skulls. The hot air is conveyed with great skill. The expressive grayish-yellow color perfectly conveys the feeling of sun-dried, dead nature. In “Apotheosis of War” the artist achieves significant tonal unity, testifying to the growth of his skill in conveying space, air and light.

“The Apotheosis of War” is the artist’s stern condemnation of wars of conquest that bring death, destruction, and destruction. The painting reproduces one of the “pyramids”, which, on the orders of Tamerlane and other eastern despots, were built from the skulls of their defeated enemies. On the frame of the painting, the artist inscribed significant words: “Dedicated to all great conquerors, past, present and future.” The picture fully retains its incriminating power to this day, revealing the crime of modern imperialist aggression, which dooms entire countries and peoples to destruction.

War 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 gave rise to revolutionary trends in artistic creativity. National movements excite new ideas and art forms. In these years, a highly developed artistic culture collides with elementary ideologism and crude populism. During this period, state authorities and political parties showed their interest in art with increasing persistence.

Increasingly, this interest was expressed in cultural policy, in the spirit of which the rights to the national and classical heritage are proclaimed and modern artistic movements receive ideological and political qualifications, from which practical conclusions flow. The painters of that time tried to reflect the intensity of the people’s fierce struggle through the depiction of Russian nature, for which the presence of alien invaders was alien, revealing much of the events of the war. The chronicle of mournful losses was forever captured in Russian painting. The events of the Great Patriotic War will never be erased from human memory. Artists will turn to her again and again. The deepest drama experienced by humanity over the past decades of the 20th century - the invasion of fascism and the Second World War - 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 made significant changes in the demography of the artistic culture of the world. The escape from fascism, its rejection by artists who had withdrawn into 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 countries captured by fascism, the art of Resistance is formed - an artistic movement with political effectiveness and developing its own properties of content and style. This art contains a keen response to the tragedy of war and embodies the nightmares of fascism in allegorical and event-specific compositions.

Arkady Alexandrovich Plastov

Plastov A.A. born in 1893 in the village. Leaning against the Simbirsk lips. His best paintings became classics of Russian painting 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 the way Plastov depicted her.

He was the son of a village bookworm and the grandson of a local icon painter. He graduated from theological school and seminary. From his youth he dreamed of becoming a painter. In 1914 he managed to enter the Moscow School of Painting and Painting, but he was accepted only into the sculpture department. At the same time he studied painting. In 1917-1925 Plastov lived in his native village; as “literate”, he was involved 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 was destroyed. The artist is almost forty years old, and he finds himself practically in the position of a beginner. But another forty years of tireless work - and the number of his works approached 10,000. There were several hundred portraits alone. These are mostly 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. You don’t have to write beautifully, you have to write the truth, and it will be more beautiful than any fantasy. The artist tested every shade, every feature in his paintings many times while working from life.

Unpretentiousness, the complete absence of what is called “manner” distinguishes Plastov even from those wonderful masters whose artistic principles he inherited - A.E. Arkhipova, F. A Malyavina, K.A. Korovina. Plastov A.A. recognizes himself as a successor of the entire national artistic tradition. In the color 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 the red, pink and blue of peasant clothes. The place of holy ascetics is taken by Russian peasants, whose work is both hard and holy, whose life for Plastov is the embodied harmony of nature and man.

Plastov's works reflect the trials of the Soviet people during the Great Patriotic War ("The Fascist Flew", 1942), the patriotic work of women, old people and children on collective farm fields during the war years ("Harvest", "Haymaking", 1945, both paintings were awarded in 1946 Stalin Prize). The painting “Haymaking” sounded like a colorful hymn to the new peaceful life, the joy of the people who emerged from the difficult trials of war with honor and glory. In the painting “Harvest” the theme of war is hidden, it is in the absence of the fathers and older brothers of the children sitting next to the elderly peasant. Its 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 working in its native land.

During the war, the artist lived and worked in the village of Prislonikha. Plastov’s canvas “The Fascist Flew” (1942) is one of the most disturbing and unforgettable works of painting. 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. The silhouette of a flying German killer plane is barely visible on the horizon.

And subsequently, in his best works, Plastov maintained the achieved level: “Spring” (1952), “Youth” (1953-54), “Spring” (1954), “Summer” (1959-60), “Dinner for Tractor Drivers” (1951) . Among Plastov’s works, the painting “Spring” (1951) also stands out. This canvas exudes a poetic feeling of life. A young girl, running out of a village bathhouse, carefully dresses the little girl. The artist masterfully conveys the beauty of a young naked female body, the transparency of the still chilly air. Man and nature appear here in an inextricable connection.

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

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

Plastov’s illustrations to the works of Russian poets and prose writers are also interesting. They are very close in worldview to his paintings. The brightness and emotionality of the concept distinguish 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 by A. .P. Chekhov, 1954, etc.).

Canvas "Collective farm holiday". For a number of reasons, this work fits the definition of the style of socialist realism, proclaimed to be fundamental for Soviet art. However, it should be clarified that the mentioned picture was included in the realistic method with reservations, since it is too bright and demonstratively popular. The author overloaded the plot with details several times, but this helped him create the impression of 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 (“The Fascist Flew Over,” 1942, the cycle “People of a 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 enormous socio-political, national and international changes that followed it decisively restructured the artistic geography of the world and made serious changes in the composition and course of development of world art. With its new problems, art enters the post-war period, when the three main factors that determine its development - socio-political, national and international, ideological and artistic - create a new historical and artistic situation.

The work of artists and sculptors was imbued with the spirit of wartime. During the war years, such forms of operational visual propaganda as military and political posters and caricatures became widespread. These posters, memorable to the entire military generation of Soviet people, were published in thousands of copies: “Warrior of the Red Army, save us!” (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 Sergei Vasilievich (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 SKhPU (1901-07), then at MUZHVZ (1907-12), where he studied with K.A. Korovin and S.V. Ivanova. In his youth, Gerasimov preferred watercolors and it was in this subtle technique that he developed the exquisite color scheme characteristic of his works with silvery-pearl tints of free, light strokes. Along with portraits and landscapes, he often turned to motifs of folk life, but it was not the narrative or ethnographic details that attracted the artist here, but the very elements of rural and provincial city life (“At the Cart,” 1906; “Mozhaisk Rows,” 1908; “Weddings in a Tavern” ", 1909). In drawings, lithographs, engravings of the early 1920s. ("Men" series), the artist was looking for a more acute, dramatically intense expression of 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 full-scale sketches of Russian nature. They are remarkable for their poetry, subtle sense of life, harmony and freshness of color (“Winter”, 1939; “The Ice Has 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 consistent plot was considered a full-fledged work of painting. But such paintings were to a certain extent successful for Gerasimov only when in them he could convey a lyrical state that unites the poetry of the natural environment: “On the Volkhov. Fishermen" (1928-30), "Collective farm holiday" (1937).

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

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 primary education at the Kharkov Art School (1915-1917). The artist’s youth, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the Fine Arts section of Gubnadobraz, designed propaganda trains, and participated in the defense of Kursk from the Whites. From 1919 to 1920, Deineka was in the army, where he directed an art studio at the Kursk political department and “Windows of ROST” in Kursk.

From the army he was sent to study in Moscow, at VKHUTEMAS in the printing department, where his teachers were V.A. Favorsky and I.I. Nivinsky (1920-1925). The years of apprenticeship and communication with V.A. were of great importance in the creative development and formation of the artist’s worldview. Favorsky, as well as meetings with V.V. Mayakovsky. Deineka’s creative image was clearly and clearly presented 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 Discussion exhibition of active revolutionary art associations. 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 October art association, and in 1931-1932 - a member of the Russian Association of Proletarian Artists (RAPH). In 1930, the artist created posters that were expressive in color and composition: “We are mechanizing Donbass”, “Physical worker”. In 1931, paintings and watercolors very different in mood and theme appeared: “On the Balcony,” “Girl at the Window,” “Mercenary of the Interventionists.”

A new significant stage in Deineka’s work began in 1932. The most significant work of this period is the painting “Mother” (1932). During these 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), “Afternoon” (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. Barbusse (1934). Since the mid-1930s, Deineka became interested in modern themes. The artist had addressed the topic of aviation before (“Parachutists over the sea”, 1934), but in 1937 he worked on illustrations for a children’s book by pilot G.F. Baidukova’s “Across the Pole to America” (published in 1938) contributed to the master’s renewed interest in aviation. He wrote a number of paintings, one of the most romantic - “Future Pilots” (1937). The historical theme was embodied in monumental works devoted mainly to pre-revolutionary history. The artist made sketches of panels for exhibitions in Paris and New York. Among the most significant works of the late 1930s and early 1940s is “Left March” (1940). During the Great Patriotic War, Deineka created intense and dramatic works. Painting “Outskirts of Moscow. November 1941" (1941) is the first in this series. Another work, “The Burnt Village” (1942), is imbued with deep suffering. In 1942, Deineka created the canvas “Defense of Sevastopol” (1942) filled with heroic pathos, which was a kind of hymn to the courage of the city’s defenders. Significant works of the post-war period include the paintings “By the Sea. Fisherwomen" (1956), "Military Moscow", "In Sevastopol" (1959), as well as mosaics for the foyer of the assembly hall of Moscow University (1956), mosaics for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka’s mosaics decorate the Moscow metro stations “Mayakovskaya” (1938) and “Novokuznetskaya” (1943), and for the mosaics “Good Morning” (1959-1960) and “Hockey Players” (1959-1960), he was awarded the Lenin Prize in 1964 .

Deineka taught in Moscow at the Vkhutein (1928-1930), at the Moscow Printing 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 decorative arts department of the USSR Academy of Arts. Awarded the Order of Lenin, the Order of the Red Banner of Labor and medals, Hero of Socialist Labor (1969)

On June 12, 1969, Alexander Alexandrovich Deineka died in Moscow and 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 Ivanovo’s Messiah finally took shape in the Donskoy Monastery, on the day of the funeral service for Patriarch Tikhon (1925). The mass of thousands of believers inspired Korin to create the Requiem, a picture that would embody “holy Rus'” on the verge of tragic changes. In line with this plan, he creates wonderful type portraits (Father and Son, 1930; Beggar, 1933; Abbess, 1935; Metropolitan (future Patriarch Sergius), 1937, etc.; almost all of the works are in the Korin House Museum); His original style of writing is being developed, much tougher and more severe than that of Nesterov. At the invitation of M. Gorky (who proposed to call the future painting Rus' passing away), Korin managed to visit Italy and other European countries in 1931-1932. In the 1930s, work on the passing of 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 - in the 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 the compositional sketch of the Requiem (1959, house museum) and continued the series of “heroic portraits” (S.T. Konenkov, 1947; Kukryniksy, 1958; both portraits in the Tretyakov Gallery; Lenin Prize 1963).

In 1932-1959 Korin led the restoration workshops of the A.S. Museum of Fine Arts. Pushkin. He collected a 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).

TASS windows

“TASS Windows” are political propaganda posters produced by the Telegraph Agency of the Soviet Union (TASS) during the Great Patriotic War of 1941-1945. Like “Windows of GROWTH” - an art series created by Vladimir Mayakovsky during the Civil War - this is a unique type of propaganda-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 between armies, weapons and tactical schemes. Any war is a powerful ideological battle, the advantage in which helps to win on the battlefield. The Great Patriotic War became the most striking, visible confirmation of this fact. Having defeated the enemy in mortal battles, we defeated him morally. We won in the terrible and disastrous 1941. 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 “TASS Windows” - a series of posters that were regularly published throughout the war and reflected in a satirical or patriotic form the most significant, current events taking place at the front, in the rear or in the international arena, a team of the best artists, writers and poets of that time worked talentedly . “TASS Windows” are color satirical posters that have entered the history of the Great Patriotic War as a unique heroic page, as one of the formidable types of ideological weapons that mercilessly defeated the Nazi occupiers and their generals. These posters were made, as a rule, with great skill and had an extraordinary impact on the viewer, giving birth to the flame of Soviet patriotism, inciting sacred anger and withering hatred of the cruel and deadly enemy who treacherously attacked our Motherland. They were well known at the front and in the rear, underground in the occupied territory and in partisan detachments, in many countries of the world, including in Germany itself.

The artists managed to convey in their caricatures a portrait resemblance to the original and at the same time highlight the most characteristic things in the appearance or actions of the fascist leader. Tassovites said that they spent a long time carefully watching German newsreels, photographs, studying the characteristic gestures, gait, and 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 Hitler’s 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 feverish movement with a pointing finger, intimidating gestures, and disheveled hair.

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

The main core of the team consisted of those who worked with Vladimir Mayakovsky in “Windows of ROSTA” in the early 20s: 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 active army was expected no less than the supply of ammunition and military equipment. Contact with the front was maintained constantly. At the doors of the workshop on Kuznetsky Most one could constantly see front-line vehicles arriving for the next edition. Often, Tassovites themselves went to the location of military units and organized impromptu exhibitions of “TASS Windows” right on the front line.

TASS Windows posters were an effective ideological weapon during the war. They could be seen on the armor of tanks and on airplanes. The posters infuriated the Nazis. The partisans were especially zealous in inciting this feeling among the occupiers. For example, in Kharkov, partisans completely covered the local Gestapo building with “TASS Windows.” There is no need to explain what the fascists felt when they saw so many caustic and satirical anti-Nazi posters in the morning. And in Tula and Vitebsk, posters pasted on houses and severely frozen by the frost - so that there was no way to tear them off the walls - were shot by the Nazis in rage. The impotent anger of the Germans towards TASS Windows was so fierce that Goebbels personally threatened to “hang up everyone who works at TASS Windows immediately after the capture of Moscow by German troops.”

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

Already in the first posters, Tassovites sought to resurrect the heroic past of the Russian people, to once again recall 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, and the troops of Napoleon. All these battles ended in victory for the Russian army.

More than once the theme for the image became legendary historical figures, great Russian commanders: Alexander Nevsky, Dmitry Donskoy, Kutuzov, Suvorov. The winged lines of Pushkin, Lermontov, Griboedov, and 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. It is important to note: it was not just a single poster that was published, but an entire circulation of several hundred copies (at the end of the war it reached one and a half thousand), which, under the most difficult conditions, was hand-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 Sofinformburo messages were broadcast on the radio, artists immediately sketched a sketch, and poets, often ahead of artists, wrote poetry. Usually the poster was ready within 24 hours, and in some emergency cases - no more than 4 hours! For example, posters were created dedicated to the Battle of Kursk and the capture of Stalingrad and Kharkov. Often the posters used texts that had already been published in periodicals. So, 18 hours after the publication of K. Simonov’s poem “Kill him!” A Kukryniksy poster was created, in which a fascist in the form of a gorilla-shaped monster with a machine gun in his hands walked over the corpses of women and children. Needless to say, the furious, appealing lines of Konstantin Simonov, combined with the depiction of the inhuman appearance of the occupier, had a powerful moral impact on the souls of the soldiers fighting for the Motherland!

“TASS Windows” were printed in several colors using stencils and continued the traditions of Russian folk pictures and the satirical “ROSTA Windows” of the 20s. last century: laconic, accurate drawing, ringing contrasting color, biting, witty text, easy to remember rhyme. Here are some text signatures on the first posters: “The fascist took the route to the Prut, but the fascists are not from the Prut”, “Every blow of the hammer is a blow to the enemy”!, “Death to the fascist vermin!”, “We knew: the defender of Moscow does not unite!” , “Smashing the fascists without mercy, naval guns say: whoever beats the enemy at Leningrad defends Stalingrad! If you put down the enemy in the North, you will help 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 enterprises and cultural institutions were evacuated to the east of the country, including the main backbone of the editorial office of TASS Windows, a handful of Tass artists, led by M. Sokolov-Skalya, remained in the city to help with their work The Red Army defends its native capital. In order to convince all Muscovites and soldiers at the front that the editorial office works calmly even in a dangerous situation, it was decided to write the date and the word “Moscow” on the stamp of each “window”. In just two months - October and November - about 200 posters were released! It was truly heroic work. The popularity and significance of “TASS Windows” was such that already in 1942, at the Historical Museum exhibition “The Defeat of Nazi Troops on the Approaches to Moscow”, a significant part of the exhibition consisted of posters from the workshop on Kuznetsky Most. This aroused great interest among city residents. From March 22 to May 3, the exhibition was visited by 10,199 people.

“TASS Windows” have gained wide popularity not only in our country, but also abroad. At the beginning of the war, six exhibitions were held abroad - in England, the USA, Latin America, China, and Sweden. In China, for example, after viewing the exhibition, 12 Chinese came to the Soviet consulate and applied to be accepted as volunteers into the ranks of the Red Army. In Helsinki, where the exhibition was held immediately after Finland ceased to be a German satellite, many visitors left enthusiastic notes in the guest book: “The Soviet Union knows how to fight, but it is also a master at drawing. Brilliant! Hats off! One of the American manufacturers sent a letter to Moscow with a request to issue a subscription in his name to “TASS Windows”, motivating his request by the fact that although he does not share the ideology conveyed in these posters, however, those posted in the workshops of his enterprise, they significantly contribute increasing worker productivity, which is extremely beneficial. “Some of the “Windows,” wrote “Evening Moscow” in August 1942, “are completely reprinted abroad and are published as posters with 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, 1,250 posters were issued during the war, 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 cultural history of our country. And the high civic position of the best representatives of national culture, who with their dedicated work in the art workshops on Kuznetsky Most brought victory closer, is without a doubt an example of service to the Motherland and their people.

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