The mystery of the disappearance of the largest exhibition of socialist realism. The mystery of the disappearance of the largest exhibition of socialist realism Viktor Mikhailovich Oreshnikov painting the first traveling exhibition

V. Oreshnikov. No. 425. Maneuvers // Art exhibition “15 years of the Red Army”. Painting, graphics, sculpture, textiles, decorative arts, art of Palekh and Mstyora. [Catalog]. M., All-Artist; Printing house of the newspaper "Pravda". Moscow, st. Gorky, 51; 1933, p. 172 (...With regard to the theme [of the exhibition “15 Years of the Red Army”], the number of topics of the modern Red Army and Navy was strengthened in every possible way [and] independent departments were created dedicated to V.I. Lenin, I.V. Stalin and K. E. Voroshilov... Two isogiants “Exhibition 15 years of the Red Army” and “Artists of the RSFSR for 15 years” indicate that Moscow is becoming the artistic center of the world... Pages XXIV, XXV, XXIX)

Oreshnikov, V.M. No. 356. Maneuvers // Art exhibition of the XV years of the Red Army. Painting, sculpture, graphics. 1933 - 1934. Leningrad. Russian Museum. [Catalog]. L., LOSSKHIZO, 1933 (...This exhibition, organized by the Revolutionary Military Council of the USSR, is the third in a row: the first was organized in connection with the 5th anniversary of the Red Army, the second was dedicated to the 10th anniversary... Organized initially in Moscow, the exhibition has now been moved to Leningrad and deployed in the halls of the Ethnographic Department of the State Russian Museum... p.18)

A.G. Petritsky, V.M. Midler, M.G. Deregus, V.I. Kasyan, I.N. Shulga and others (Members of the Committee for Promotion of the Exhibition in Kharkov). Art exhibition 15 years of the Red Army. Painting, graphics, sculpture. House of the Red Army. them. K.E. Voroshilov. [Catalog]. Kharkov, 1935

Oreshnikov, Viktor Mikhailovich (b. 1904). No. 287. Head of the political department of MTS at plowing (1934) // Ginzburg I.V. (vst. st.). Catalog of the first exhibition of Leningrad artists. L., State Russian Museum; Printing house "Soviet Printer". Leningrad, Mokhovaya, 40; 1935, p.29 (...The huge burden of unexperienced formalism and expressionism weighed heavily on many and stood as an obstacle to the pictorial mastery of Soviet reality... The system of orders [by the Leningrad Council] served and will serve as a serious incentive for the restructuring of Leningrad art... Illustrative evidence of this turn [mastery of Soviet reality] are portraits of the best Bolshevik and friend of Leningrad art S. M. Kirov... p.3, 4, 6)

A team of professors, teachers and students of the Academy of Arts on the platform: M.I. Roslavlev, E.I. Katonin, M.D. Bernstein, A.I. Segal, V.M. Oreshnikov, R.R. Frenz, A.D. Zaitsev ( photo ) // Leningradskaya Pravda. Issue 172. L., July 20, 1944, p.4

Oreshnikov V.M. No. 229. Portrait of Stalin Prize winner ballerina G.S. Ulanova. 1942 // M. Khieninson (ed.-comp.), B. Semyonov (art. region). Art exhibition "Ural - a forge of weapons." Catalog. Sverdlovsk, Department of Arts under the Council of People's Commissars of the RSFSR, Sverdlovsk Regional State Publishing House, 1944, p.19

Oreshnikov V.M. // Brodsky I.A. (ed.). Exhibition of works by Leningrad artists: painting, sculpture, graphics, theatrical and decorative painting. L., Leningrad branch of the art fund, Leningrad Union of Artists, 1948, p.11

Reporting exhibition of works of painting, sculpture and graphics for 1947 – 1948. Catalog. L., Leningrad Association of Artists “LENIZO”, Typogr. LenVO, 1949 (...Founded in 1930, the Partnership currently numbers 350 artists in its ranks... p.1)

A. Kaganovich. Viktor Mikhailovich Oreshnikov [creativity]. M.-L., Art, type. them. Volodarsky in Lgr., Soviet artists, 5,000 copies, 1 rub. 50 k., 1950

V.M. Shvedova (comp.). Exhibition of works by Leningrad artists [in the State Russian Museum]. Catalog. L., Lenizdat, 1952

Bolotova A.I., Galushkina A.S., Zakharova D.V. (scientific ed.) and others. Exhibitions of Soviet fine art. 1948 – 1953 Directory. T.4. M., Soviet artist, 1975

Weymarn B.V. [and etc.]. History of the art of the peoples of the USSR. T.8. M., 1977, p.43, 46, 50

Creativity of the academician of painting. [ A note about the opening of the exhibition by V.M. Oreshnikov in the halls of the Museum of the USSR Academy of Arts in Leningrad ] // Evening Leningrad. Issue 116. L., May 20, 1977

Zinger L.S. (vst. st.). The image of a contemporary. Soviet pictorial portrait 1917 – 1976. Album. M., 1978, p.96

Alexandrova I.A. St. Petersburg – Petrograd – Leningrad in the works of Russian and Soviet artists. Exhibition catalogue. L., Artist of the RSFSR, 1980

Bolotova A.I., Galushkina A.S., Rostovtseva I.T., Savelova E.V. (scientific ed.), etc. Exhibitions of Soviet fine art. 1954 – 1958 Directory. T.5. M., Soviet artist, 1981

Weymarn B.V. Sopotsinsky O.I. [and etc.]. Soviet fine art 1941 – 1960. M., 1981

Weymarn B.V. and others. History of art of the peoples of the USSR. T.9. M., 1982, p.24

Lenyashin V.A. (articles). The image of the homeland. Album. T.2. L., 1982

Oreshnikov Viktor Mikhailovich. (People's Artist of the USSR, full member of the USSR Academy of Arts). Portrait of the sculptor M.A. Kerzina. 1974 // V.M. Shvedova (ed.). The fifth exhibition of works by Leningrad artists “Portrait of a Contemporary”. Catalog. L., Artist of the RSFSR, Main Directorate of Culture of the Leningrad City Executive Committee, LOSKH RSFSR, State Russian Museum, 1983, p.17

E.A. Topolnitskaya (comp.), I.M. Blyanova (vst. art.). Full member of the USSR Academy of Arts, People's Artist of the USSR, laureate of USSR State Prizes Viktor Mikhailovich Oreshnikov: Painting. Exhibition catalog [Moscow, 1984]. M., Fine Arts, Ministry of Culture of the USSR, Academy of Arts of the USSR, N.-i. Museum, Union of Artists of the USSR, 3,000 copies, 1985

Yu.I. Kuznetsov. Viktor Mikhailovich Oreshnikov [artist]. L., Artist of the RSFSR, 15,000 copies, 5 rubles. 30 k., 1985 ( Super region .)

L.S. Singer. Soviet portrait painting of the 1930s - late 1950s. M., 1989

Hubertus Gassner. [Album catalog]. Düsseldorf - Bremen, Interartex - Editsion Temmen (articles). Time for a change. Art 1960 – 1985 in the Soviet Union. Timing belt St. Petersburg, 2006

Victor Mikhailovich Oreshnikov = Victor Michailovich Oreshnikov: [album based on materials from a personal exhibition (RAH St. Petersburg, Jan. - Feb. 2006) in honor of the centenary of his birth]. St. Petersburg, Russian Academy of Arts, Institute of Painting, Sculpture and Architecture named after. I.E. Repin, Petropol, Masters of Russian art, 2007 (Russian, English) ( Region .)

Oreshnikov Viktor Mikhailovich // Faculty of Painting, graduate of 1927 // S.B. Alekseeva (ed.-comp.), Yu.G. Bobrov (scientific ed.) [and others]. Anniversary directory of graduates of the St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I.E. Repin of the Russian Academy of Arts. 1915 – 2005. St. Petersburg, 2007, p. 30, 761

Vern G. Swanson. Soviet Impressionist Painting. Suffolk (UK), Woodbridge, Antique collectors’ club, 2008

V.M. Oreshnikov. Painter, author of genre, historical and revolutionary paintings, portraits, still lifes, landscapes, teacher // V. Lenyashin (scientific editor of the volume). Painting. First half of the twentieth century. Russian Museum. Catalog. T.12. N – R. SPb., Palace Editions, Russian Museum, Almanac (Issue 404), 5,000 copies, 2013, pp. 34 – 35 ( Region ., tit .)

N. Brykin. On patrol. [Stories for children ml. age]. Drawings and binding by V. Oreshnikov. M.-L., Detizdat; 2nd children's book factory of Detizdat of the Komsomol Central Committee. Leningrad, 2 Sovetskaya, 7; 25,000 copies, 2 rubles. in lane, 1939 ( Region Region .)

Soviet painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). Born on January 7, 1904 in the city. From 1924 he studied at the Higher Art and Technical Institute (VKHUTEIN) in Leningrad, which he successfully graduated in 1927.

His teachers were K.S. Petrov-Vodkin and V.V. Belyaev. Oreshnikov did not directly follow the style of his teachers, but it was probably from them that he received his love for classical art, its simplicity and purity of lines. That is why Viktor Mikhailovich Oreshnikov is called a genius of pure beauty.

From 1933 to 1936 V.M. Oreshnikov is studying in graduate school at the Academy of Arts under the guidance of I.I. Brodsky.

Oreshnikov connected his entire creative life with the Institute. I.E. Repina. After graduating from the institute, he began teaching there and devoted fifty years of his life to this business, and in 1953 he headed it.

An excellent portrait painter, Oreshnikov worked a lot in this genre. Somewhat restrained, bearing the stamp of official representation, male portraits are a story about fate, the spiritual search of a person. The model is written in such a way that the audience is left in no doubt that this is an outstanding personality.

His work on female characters is a completely different matter. Before us are always the personifications of femininity. They have an elegance and grace that is not often found in portraits, especially Soviet ones, of the 20th century. The portrait of the Kirov Theater prima Anna Shelest sparkles with pearl tints. The beautifully inspired face of the artist Savelyeva. And of course, the artist’s muse and favorite model is his wife.

In each model, Oreshnikov found features of the ideal of harmonious and therefore eternal beauty, not subject to changes in fashion.

The master's landscapes breathe the desired harmony of the world order. Their main characters are light, air and sky. Peace and quiet reign here. Viktor Oreshnikov was an artist who did not seek dramatic effects.

His Leningrad looks like a bright, morning dream. There is no place here for gloomy legends, melancholy and hopelessness of Dostoevsky's Petersburg.

Green meadows, winter forest, lush haystacks, variety of trees, blue southern sea: he painted different natures, at different times of the year. And every time he fell in love with the object he depicted.

The world created by Oreshnikov’s brush is diverse and distinguished by the clarity and crystal purity of a mountain source. The artist knew how to see the beauty of the existing world, a rare talent, especially in our time.

During his work at the Institute. Repin, he trained a whole galaxy of masters of Russian art - St. Petersburg residents.

Among them:

• B.S. Ugarov - People's Artist of the USSR, full member of the USSR Academy of Arts and its president, professor;
• P.T. Fomin - People's Artist of the USSR, full member of the USSR Academy of Arts, professor;
• IN AND. Reikhet - People's Artist of Russia, professor;
• V.V. Pimenov - People's Artist of Russia, professor;
• A.K. Sokolov - Honored Artist of Russia, professor;
• A.L. Korolev - Honored Artist of Russia, professor.

- (b. 1904), Soviet painter. People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). He studied at the Leningrad Vkhutein (1924 27). He teaches at the Leningrad Academy of Arts IZHSA (since 1930, rector in 1957 77). The author of paintings on historical... ... Art encyclopedia

Oreshnikov Viktor Mikhailovich- (19041987), Soviet painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). He studied at the Leningrad VKHUTEIN (192427), graduate school of the Academy of Arts (193336) with I. I. Brodsky. He taught at IZHSA (from 1930, in 195377... ... Encyclopedic reference book "St. Petersburg"

- [R. 7(20).1.1904, Perm], Soviet painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). Studied in Leningrad at the Vkhutein (1924 1927; in graduate school of the Academy of Arts 1933 36, with I. I. Brodsky) Teaches at the Leningrad Academy of Arts Institute... ... Great Soviet Encyclopedia

- (1904 87) Russian painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). Historical paintings (At the Petrograd Defense Headquarters, 1949), portraits (B.B. Piotrovsky, 1970 71). USSR State Prize (1948, 1950) ... Big Encyclopedic Dictionary

- (1904 1987), Soviet painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). He studied at the Leningrad VKHUTEIN (1924 27), postgraduate school of the Academy of Arts (1933 36) with I. I. Brodsky. He taught at IZHSA (since 1930, in 1953 77 rector). Author… … St. Petersburg (encyclopedia)

- (1904 1987), painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). Historical paintings (“At the Defense Headquarters of Petrograd”, 1949), portraits (“B.B. Piotrovsky”, 1970 71). USSR State Prize (1948, 1950). * * *… … encyclopedic Dictionary

Genus. 1904, d. 1987. Painter, author of portraits, historical paintings, etc. Twice laureate of the USSR State Prize (1948, 1950). Since 1954, full member of the USSR Academy of Arts. People's Artist of the USSR (1969) ... Large biographical encyclopedia

Viktor Mikhailovich Oreshnikov (born January 7 (20), 1904, in the city of Perm 1987) Soviet painter, People's Artist of the USSR (1969), full member of the USSR Academy of Arts (1954). Life and work Taught at the Leningrad Academic... ... Wikipedia

Oreshnikov surname: Oreshnikov, Alexey Vasilyevich (1855 1933) Russian and Soviet numismatist, corresponding member of the USSR Academy of Sciences Oreshnikov, Viktor Mikhailovich (1904 1987) Soviet painter Oreshnikov, Roman Alexandrovich (born... ... Wikipedia

Viktor Mikhailovich Oreshnikov is one of the Soviet artists of the younger generation. Having received an artistic education after the Great October Socialist Revolution, he actively participates with his art in the construction of socialist culture. Being a realist artist, Oreshnikov works to create artistic images that truthfully reflect our socialist reality, as eloquently evidenced by a number of the artist’s paintings. Oreshnikov worked especially extensively and fruitfully in the field of portraiture. The series of portraits he created speaks of the artist’s desire to affirm the richness of the inner content of the Soviet man. The growth of the artist’s professional skill was most fully reflected in recent years, when he created completely finished and mature works, one of which is the painting “V. I. Lenin on an exam at St. Petersburg University” received wide recognition from the people, and its author was awarded the Stalin Prize.

Viktor Mikhailovich Oreshnikov was born on January 20, 1904 in Perm, in the family of a lawyer. Even as a boy, Oreshnikov was keenly interested in everything that had to do with the fine arts. He devoted his free time to drawing. Of greatest interest to him was the Niva, a complete copy of which was available in the house. He leafed through the magazine an endless number of times, carefully examining the reproductions of works by outstanding Russian artists reproduced there. Having entered the Perm Real School in 1913, Oreshnikov began to study art more systematically, taking drawing and painting lessons from some of the local artists. The real school had a well-equipped drawing class, drawing teacher D.F. Nikolaev greatly contributed to the development of students’ interest to your subject. Drawing classes at school became even more systematic and deeper in the fourth grade, when plaster casts became a class assignment.

These initial studies finally strengthened Oreshnikov’s desire to devote himself to the complex, but at the same time tempting profession of a painter. The young man treated the instructions of his leaders with great love and attention and devoted a lot of time to studying the basics of art. By the beginning of the Great October Socialist Revolution there was no art school in Perm. Not long before this, the Society of Lovers of Painting, Sculpture and Architecture, created, united all artists and those simply interested in art. In the spring of 1917, the Society organized the first art exhibition in the city, at which all members of the Society were represented. In terms of their meaning and focus, the paintings of this exhibition were far from equal. Along with professionals, simple amateurs also exhibited; Despite this, the exhibition was an outstanding event. She made a great impression on the audience, including young Oreshnikov. Throughout the summer of 1917, Oreshnikov studied painting with K. Sedov. Here he first began working in oils, painting several landscapes and still lifes. Studying at a real school was successful, and in 1919 Oreshnikov received a certificate of completion of secondary education. The young man had no hesitation in choosing a profession; he was irresistibly attracted to art.

In the same 1919, he entered the newly organized Art Workshops. These workshops, later (in 1922) reorganized into a technical school, were the first art school created in Perm. From the very beginning of their existence, the workshops turned into an arena for the struggle of different trends in art. Oreshnikov immediately, very clearly, defined his sympathies. At first he worked in the studio of portrait painter A. S. Shestakov, a student of the Academy of Arts, a supporter of the realistic trend in art, and then moved to the studio of decorative painting V. I. Ikonnikov. Significant changes occurred with the arrival of the artist V. A. Obolensky to teaching, who did a lot to strengthen the realistic foundations in the educational process of the technical school. Along with everyone else, Oreshnikov constantly drew, painted in oils, and also with glue paints, which was mandatory for students of the decorative department. Oreshnikov studied with great persistence and so successfully that he always stood out among his comrades. At one time he was even assigned to teach drawing in the junior group of the technical school. This was very opportune, because in 1921 his father died, and the maintenance of the family fell on his older brother and Viktor Mikhailovich himself.

In 1924, Oreshnikov graduated from the Art College and qualified as a decorative artist. However, they didn't stop there. He understood that his knowledge of professional skills would be enough to create a large thematic picture, which is what the artist dreamed of and strived for. He was drawn to distant Leningrad, where there was an Academy of Arts that educated many great Russian artists - Kiprensky, Repin, Surikov, Serov and others. In the same 1924, he left his hometown and moved to Leningrad, where he entered the Academy of Arts. Oreshnikov studied at the Academy for three years. Despite the fact that during these years there was an influence of formalists on art education, the young artist took the best and healthiest that the then Academy could give. Oreshnikov’s drawings and sketches from life, executed by him at this time, speak of the artist’s desire to truthfully and sincerely convey what he saw in life. During the period of Oreshnikov’s studies at the Academy of Arts, representatives of formalist movements in art vehemently opposed the easel thematic painting. They considered the sketch to be the main form of expression of the artist’s creative intent. This, most fully, expressed the close connection of our formalists with the bourgeois decadent art of the West.

The denial of the picture has penetrated not only creative practice, but also the educational process. The formalists sharply attacked artists of the realistic direction. They gave everyone who was interested and tried to achieve something in this area the contemptuous nickname “picture artist.” Despite this, advanced Soviet realist artists worked hard and successfully to create a revolutionary thematic picture. Oreshnikov perfectly understood the importance of painting in art, which is the highest stage of the artist’s creativity. The painting requires the painter to deeply comprehend the phenomenon of reality and its great generalization. Only in a painting does the artist have the opportunity to reflect with the greatest completeness and variety the advanced and progressive ideals of the era, as the history of Russian and world art eloquently testifies to. Oreshnikov, while studying at the Academy and thinking about his future work, considered the only correct path for himself - the path of creating a picture. The young artist was worried about the images of the Revolution and the just ended civil war. The birth of the new in the consciousness of Man took place in a fierce struggle with the old, obsolete, and to reflect this struggle in art and thereby actively participate in the construction of a new society was the indispensable duty of the artist.

Composition as an academic discipline was not included in the program of the Academy of Arts at that time; That is why Oreshnikov turns to the study of old masters, trying to comprehend the secret of expressiveness and inner richness of their images. He often visits the Russian Museum and the Hermitage, where he carefully analyzes the works of masters of Russian and world painting, being at the mercy of the perfection with which their works are imbued. This curiosity of the young artist was not limited to theoretical interest alone. Oreshnikov began to copy the old masters and, thus, practically tried to comprehend the features of their painting. The young artist sought from the old masters the “secrets” of their ability to paint on canvas in such a way that hundreds of years later the viewer is amazed by the clarity and expressiveness in revealing the artistic concept, modesty and, at the same time, the variety and richness of the visual means. In the twenties, all this was not given much attention at the Academy. The most basic rules of “conducting” a picture were comprehended by students for the most part on their own, without help from supervisors. Oreshnikov belongs to the category of constantly searching artists who continuously improve their skills. The artist always solves the problems of painting technique and technology in connection with work on the image.

During his student years, the problem of painting worried the artist so much that for his theoretical work, which was supposed to be written along with a painting at the end of the Academy, he chose the topic “Sketch and Painting.” This latter, as stated in the documents, was highly appreciated, and after some reworking, it was recommended for publication. In this theoretical work, Oreshnikov convincingly analyzes the problem of the relationship between painting and sketch. The artist’s personal creative interests and his desire to create a painting were clearly manifested in this work. Affirming the ideological and figurative expressiveness of a painting, its ability to actively influence people’s consciousness, Oreshnikov protests against the harmful hobby of sketching, in which the artist cannot fully express his thoughts, synthesize his worldview in images, etc. And the role of a simple “observer, incapable of active creative participation in life, is not characteristic of a Soviet artist. Oreshnikov correctly identified the reasons for such a widespread development of etudism in the West, rooted in the growth of bourgeois individualism and the decay of the art of capitalist society.

In the final part of his essay, the artist comes to bold conclusions. “If the principle of the sketch,” he wrote, “is not the basis of the active language of painting, if in its development it brings painting to a dead end, can the sketch be the main method of the school?” No, - Oreshnikov answers, - the sketch, which, due to its specificity, excludes a big social idea, interferes, being an end in itself, with the development of the Soviet art school. New, revolutionary ideas, born of a grandiose struggle, demanded their expression in art. In painting, only a picture can reflect these ideas and therefore, the principles of creating a picture must inevitably be the basis of an advanced art school. The positive assessment by the Council of the then Academy of this essay, which was a bold opposition to the pedagogical principles of the formalists, is explained primarily by the fact that in the fierce struggle between the advanced part of the professoriate and the formalists, a clear advantage began representatives of the realistic movement in art. Realist artists were involved in pedagogical work at the Academy, including V. E. Savinsky, the closest student and follower of P. P. Chistyakov, a remarkable Russian artist and teacher. July 7, 1927 for the painting “Death Borchaninov" and the indicated scientific work, Oreshnikov was awarded the title of painter.

The years of study ended, and the young artist entered life with a clear understanding of the tasks of art and a great sense of responsibility of his work to the people.

The accumulated experience and knowledge gave the artist confidence in his abilities.

When Oreshnikov was still in his last year at the Academy, the Perm Museum of the Revolution approached him with a proposal to paint a series of paintings from the history of the revolutionary movement in the Urals. The young artist agreed to this with great joy, because such work was fully consistent with his personal aspirations. The first painting to be executed was “The Death of Borchaninov,” which was also the artist’s graduation work. The content of this picture was an episode from the revolutionary events of 1905 in Perm - the murder by police of one of the leaders of the labor movement, Borchaninov. This picture was highly appreciated by the Academy Council. After graduating from the Academy, Oreshnikov continues to work on paintings for Perm. Thus, “Execution of the Chusovsky commissars”, “Destruction of the Bolshevik demonstration in Perm”, “Terrorist Lbov” were written. The artist specially traveled to the sites of events, talked with their participants, collected documentary material, and made sketches. This was Oreshnikov’s first independent creative work, and he devoted himself entirely to it, working with great passion. In the process of work, I had to comprehend for myself what I could not get at the Academy. Most of all, the artist strove to master the compositional method of thinking, to correctly reveal the content and create a system in the robot over the painting. It turned out that there was not enough ability to draw from oneself, without nature, and when creating a composition it is extremely necessary to be able to depict on paper or canvas the position of a person or group of people created by the imagination. The few surviving drawings for these paintings clearly show the nature of the artist’s search, his desire to find the most convincing and characteristic in the image. In these early works, the artist paid great attention to issues of painting technique, experimenting and studying the properties and nature of oil work. The basis of these searches was the use of grisaille in the primary preparatory stage of the future pictorial solution. This allowed the artist to get acquainted with the great possibilities that skillful handling of tone conceals, which will have a positive effect in his work in the future. However, in subsequent paintings, the artist finds himself

from the grisaille that largely bound him.

All paintings executed for Perm were accepted by the museum and exhibited. Despite the fact that the artist himself remained little satisfied with the result of the work, it should be recognized that the creation of these “paintings played a big role in his further work, instilling in him professional courage and significantly enriching his technical capabilities. However, the disadvantage of this work was the artist’s isolation from living impressions. The paintings for the Perm Museum of the Revolution were painted largely in isolation from nature. Most of the images were created primarily on the basis of the artist’s memories, without direct work from nature and, moreover, under the great influence of the works of old masters. Oreshnikov was drawn to working from life. In 1933, he entered graduate school at the Academy to continue his art education, where he stayed until 1936, while continuing to conduct teaching work. Back in 1930, Oreshnikov was invited to teach at the Academy of Arts in the department of monumental art that existed at that time. From this time his teaching activity began.

The young man is depicted sitting in a national costume, leaning on a gun. His purple-red jacket with a dark cloak on his knees subtly harmonizes with the overall color of the canvas. The sketch testifies to the great attention to living nature and the technical success of the artist. Along with his studies, the artist continues to work on his painting. So in 1933, at the Art Exhibition dedicated to the fifteenth anniversary of the Red Army, Oreshnikov’s painting “Maneuvers” was exhibited. The artist set himself the task of showing the strength of the Red Army, the improvement of its fighting qualities and the power of its equipment. The subject for the picture was the moment before the offensive. Soldiers with machine guns get into trucks. In the background is the movement of tanks and aircraft. On the right side of the picture, the artist depicted a messenger who brought a report to his commander on a motorcycle. The movement of the armed fighters gives elation to the whole scene. This picture was painted by the artist in tempera and only certain parts of it were painted in oil paints. This, by the way, reveals Oreshnikov’s characteristic desire for a variety of materials and the search for more advanced technical means of artistic expression. To collect materials for the painting, the artist specially traveled to military camps, where he observed the life of soldiers and officers. He studied the conditions of their combat training, witnessed military maneuvers and expressed everything and his impressions in pictures.

Oreshnikov rightly considers it obligatory for the artist to have a deep personal acquaintance with the nature of the event being depicted and the environment in which this event occurred. “For me personally,” says the artist, “it is very important to thoroughly study the real environment in which my heroes live and act, to be imbued with the aroma of this reality and to know the smallest details of their everyday interests and struggles. I consider such work absolutely obligatory for an artist, because only it can lead to the creation of truthful and convincing images.” And, indeed, in the process of working on the painting, Oreshnikov pays a lot of attention to observations of life and the search for characteristic images and situations. In our practice, it often happens that an artist, having developed a sketch, then proceeds to search for a type, sketches from life, etc., intending to introduce all this observational material of reality into the framework of his compositional scheme, which sometimes leads to a violation of the artistic integrity of the work and figurative expressiveness. Oreshnikov always begins work on a sketch after carefully studying reality and materials related to the artist’s chosen theme.

During his postgraduate years, there was a turning point in the artist’s work, which was of great importance for the further formation and development of his professional skills. In 1935, Oreshnikov painted the sketch “Gypsy Woman,” in which the artist seemed to sum up his passion for the old masters. In the composition of this work and especially in its dark coloring, the artist’s memories of the pictorial language of the masters of the past continue to live. The gypsy woman’s dark red shawl, her black flowing hair and the gray background give the sketch a somewhat “museum” character, which was often discussed at that time in connection with Oreshnikov’s work. At the same time, Oreshnikov writes the sketch “Girl”, which is fundamentally different from the previous one. Standing in a blue dress with a white apron against the background of a light yellow wall, the girl makes a very lively impression, full of real truth. There is no longer a trace of the color convention that was inherent in “Gypsy.” Such a transition to a truthful expression of reality could only occur on the basis of the artist’s direct work from life. From that time on, the living model occupied the main, defining place in his work. While still a student, Oreshnikov was interested in portraiture, since the most difficult, but at the same time noble thing for an artist is the ability to express in art the inner world of a person, his character traits and worldview. Oreshnikov already had a certain positive experience of working in this area, so during his postgraduate studies he again turned to portraits, which, as we will see later, will occupy a significant place in his work.

One of the first portraits executed after Oreshnikov was in graduate school was a portrait of swimming champion K. Aleshina. Here the artist managed to create a purposeful and strong-willed image of a Soviet female athlete. K. Aleshina’s face is very convincing, open and courageous; it speaks of the strength of Soviet people and the will to win. The elastic lines of K. Aleshina’s figure, as well as the greenish-pearl coloring of the entire portrait, truly express the artist’s creative intent. Already in this work, the main features of Oreshnikov as a portrait painter were reflected, realistic: completeness in revealing the content of the image, which became so characteristic of all his subsequent creative activity. Oreshnikov is trying to expand the range of topics of his works; he is interested in everything advanced that worries the Soviet public.

This is how the painting “Heads of the Political Department” was painted in 1935, now in the Baku Museum. Artists began to turn more and more often to the themes of collective farm construction, finding in them ample opportunities for creating the image of a new Soviet man. The enormous changes that took place in the collective farm village provided rich material for artists and, at the same time, required them to be sensitive and attentive to everything new that was developing in the villages of the country. Oreshnikov portrayed the head of the political department of MTS, accompanied by foremen and the chairman of the collective farm, checking the quality of tractor plowing. One of the foremen leaned down, measuring the depth of the furrow. The head of the political department, taking out a notebook from his tunic pocket, carefully watches the check. His face is concentrated and serious, his movements are calm and confident. For this work, the artist created a number of very interesting drawings, which speak of a deep understanding of the pattern that exists between auxiliary materials and the composition itself. and The images of the “picture are full of real truth and expressive, but the color scheme of the composition is to a certain extent arbitrary, and its originality somewhat distracts from the very content of the picture.

This work was exhibited at an exhibition in Leningrad, and then in Moscow, after which it was purchased for Baku. Oreshnikov’s early works, written mainly in a conventional warm coloring, still bear the influence of the “museum”, the art of the past, from which the artist frees himself in his further work. In 1938, by order of the Murmansk Art Museum, Oreshnikov painted the painting “A.I. Mikoyan with Murmansk fishermen." A. I. Mikoyan’s visit to the fishermen of Murmansk was a memorable event for them. Oreshnikov visited the north, where he talked with fishermen who took part in the meeting with A.I. Mikoyan. The artist depicted one of the fiords of the Kola Bay with a fishing boat in the foreground. In the boat, three sitting fishermen, smiling, carefully look at A.I. Mikoyan, who, standing at the stern, with his sleeves rolled up, is about to pull the net out of the water. In the background of the picture you can see the steamer and the light silhouette of the shore. The artist chose for the plot of his painting an episode in which the connection between her characters was revealed in a simple and natural setting. The artist’s great success was the central image of the outstanding statesman A. I. Mikoyan. He managed to show the close connection between A.I. Mikoyan and the people. Fishermen watch his every move with great interest and love.

They are captivated by the simplicity and persuasiveness of his speech. A large role in the picture is played by the landscape, against which the action of the picture unfolds, so the artist carefully studied the northern nature. He was especially struck by the color of the Northern Primorye, the silvery transparent water of the bays, the blue airy distances and the outlines of the rocky shores. The softness and velvety nature of tempera was chosen for the materials. allowed the artist to more truthfully and convincingly convey the character of northern nature. The central image of the picture—the image of A.I. Mikoyan—is imbued with sincere warmth and humanity. This work of the artist, as well as his other compositions, is characterized by the presence of individual positions and their skillful subordination to the central image. The compositional maturity of this painting, its lack of unnecessary details and the clear simplicity of its design make it convincingly memorable. At this time, Oreshnikov’s creative sympathies were formed so clearly his mastery of professional skills was at such a level that the artist could work very independently and confidently. He conceives a number of different compositions, makes sketches, and looks for the most interesting and expressive solution to the theme.

The artist’s great love for music was expressed in his work on a sketch for a painting on the theme “Concert at the Philharmonic”. At the same time, a sketch on another theme, “Harvest,” which has not survived, was created. depicting two women knitting sheaves in a wide summer landscape. In 1941, at the exhibition of the Leningrad Union of Soviet Artists, three female portraits by Oreshnikov were exhibited, which attracted the viewer’s attention with their realistic convincingness and beauty of color. These were Portraits of E. Aslamazyan, N. Grotgus and a portrait of the artist’s wife, which were a further step forward in the work of portrait painter Oreshnikov. The artist achieved the resemblance to the model easily and freely, so the portraits lack convention and a sense of tension in the people posing. E. Aslamazyan is depicted sitting with her hands folded on her knees. In the expression of her face, in her calm eyes and slightly open mouth, the artist revealed a truly living and deep human content that gives special vitality to the whole image. Oreshnikov paid great attention to the transfer of material in the portrait. In terms of liveliness of expression and technical skill, this portrait was an important event in Oreshnikov’s creative development. The portrait of his wife and N. Grothus are no less expressive and truthful.

These portraits are characterized by a certain “chamberness”, which does not, however, reduce the merits of the image. In his portraits, Oreshnikov tries to find the most characteristic and interesting things in a person. In these works one cannot find the author’s indifferent attitude towards the model; on the contrary, in each of the portraits there is a sincere and thoughtful feeling of the artist.

Before the Great Patriotic War, Oreshnikov began two large paintings: “V. I. Lenin and I.V. Stalin at the defense headquarters of Petrograd" and "Speech by S. M. Kirov at the 27th Congress of the All-Union Communist Party (Bolsheviks)." The artist found an interesting solution to these themes, but the work was interrupted due to the war, and the canvases he started were destined to stand in the artist’s empty studio for five years. The war mobilized all the forces of the Soviet people, their thoughts and feelings. All the energy of the people was devoted to achieving victory over the enemy. Workers of Soviet art actively participated with their creativity in the defeat of the enemy. Caricatures, combat leaflets, propaganda panels and especially political posters played a significant role in mobilizing the forces of the Soviet people and their heroic struggle.

At this time, Oreshnikov was in his homeland in Molotov. Together with the artist V. A. Obolensky, he participates in propaganda work in the newspaper, in “Windows of Satire,” using the means of his art to expose the enemy and instill confidence in the victory of the Soviet people. The artist's activities have become unusually diverse. Oreshnikov recalls with satisfaction this time of “intense work in Molotov, when everything was subordinated to a single aspiration and one goal - victory over the enemy. The artist’s drawings were published in Molotov’s newspaper “Zvezda”: “The State Committee of Defense of the USSR”, “Kirov is with us”, etc. Oreshnikov participates in “Windows of Satire”, on military topics. These were completely original compositions, clear and expressive, having great political, educational and propaganda significance. Currently, all of them are in the Molotov Museum. In addition, Oreshnikov participated in the All-Union poster competition. His poster "Take revenge!" was reproduced in the newspaper Komsomolskaya Pravda." In Molotov this poster became widely popular. This theme captured the artist, and he painted a small oil painting in which he develops the idea of ​​the poster. A murdered woman and child lie on the stone slabs of the sidewalk near an old brick wall. They stand out like light mint from the surrounding twilight.

On the left is the departing dark silhouette of a fascist soldier, hiding a revolver in a holster. This picture gave rise to a just feeling of hatred towards the enemy who sought to enslave the Soviet people. At the same time, Oreshnikov completed a tempera sketch for a painting on the theme “Liberation.” The canvas depicts the inside of a dilapidated church. The fascist invaders were planning to deal with a group of Soviet people here, but the rapid advance of the Red Army destroyed their plans. Sudden machine-gun fire struck down the executioners, and now a figure was already visible in the hole in the wall. a Soviet soldier raising a machine gun above his head and calling on the besieged to come to freedom. Joy and excitement are written on the faces of four Soviet people, and they all represent a single whole in this composition, occupying the entire central part of the canvas. This sketch, as well as the picture “Liberation,” was sent by the artist to Moscow for an exhibition dedicated to the twenty-fifth anniversary of Soviet power.

Wartime conditions and the “change of situation” did not prevent the artist from constantly thinking about oil painting. Immortal images created by the great Russian masters arose in his memory, images that through the centuries carried the depth of their content and lasting emotional power of influence on the viewer.

The artist often recalled two of his paintings, begun by him and left in distant besieged Leningrad: “V. I. Lenin and. J.V. Stalin at the Petrograd Defense Headquarters" and "Speech by S.M. Kirov at the 27th Congress of the All-Russian People's Commissariat for the Great Patriotic War (Bolsheviks)." The war interrupted the artist’s work, but he mentally continued it, trying to find a more correct solution to this exciting and responsible topic. Then in Molotov, during the little year he lived there, Oreshnikov performed several portraits, among which the portrait of the People's Artist of the USSR ballerina G. Ulanova especially stands out.

The artist was fascinated by the task of creating a portrait of an outstanding ballerina of our time. The high skill of G. Ulanova and the depth of the images she created are the pride of Soviet choreographic art. When creating the portrait, Oreshnikov deliberately abandoned the image of a dancing ballerina. He painted a bust-length portrait, paying all his attention to the head of G. Ulanova, to convey the psychological content of the image. An important role in the portrait is played by the movement of G. Ulanova’s head, in which the artist conveyed the slight excitement and impulse of the actress. The profile turn of G. Ulanova’s head with a calm turn of the shoulders emphasizes the overall dynamism of the image.

The coloring of the portrait is dominated by golden and pink tones, which gives a special tenderness to this image. The portrait of G. Ulanova rightfully occupies one of the first places in the series of portraits created by Oreshnikov. It should be noted that the artist completed two portraits of G. Ulanova, and one of them is in the Molotov Museum. At the very end of 1942, the artist moved to Samarkand, where he became involved in the teaching work of the Academy of Arts, which was evacuated there during the war. While in Samarkand, the artist made a number of sketches and landscape sketches.

Only after his return to Leningrad did he paint several landscapes based on previously collected material. It is characteristic that this happened some time later, when the impressions of the unusual environment for the artist in Central Asia had somewhat subsided and he had the opportunity to concentrate and synthesize his ideas about the distant sunny republic. Not all landscapes in this series are finished, but each of them has a lot of observation and truth. Among the most interesting is “Dzhar-Aryk” (1943-1944), which reveals a wide panorama of the city against the backdrop of the distant mountains. Oreshanikov skillfully conveys here the peculiar terrain, the character of the architecture, and street life.

In Samarkand, the artist executed a number of compositional portraits, among them a double portrait of V. I. Lenin and I. V. Stalin. In addition to working on portraits and landscapes, the artist devoted a lot of effort to educational and methodological work. In 1943, for his creative activities, he was awarded the academic degree of Candidate of Art History. Together with the Academy staff, the artist moved to Zagorsk and, finally, in the summer of 1944, after the defeat of the enemy near Leningrad, he returned to his hometown. At the end of 1944, Oreshnikov, commissioned by Leningrad State University, began work on the painting “V. I. Lenin at the exam at St. Petersburg University.” He completed this painting in the fall of 1947, and it aroused great interest among viewers at the Leningrad and then Moscow exhibitions. The responsibility of the theme of the painting required the artist to carefully and deeply study the documentary material of memories of V.I. Lenin, memoirs, etc. Having done this work and turning directly to the search for a figurative solution to the theme, an idea immediately arose in the artist’s mind, which later served as the basis while working on sketches. Countless pencil sketches of the composition, five large, detailed oil sketches clearly demonstrate the course of the artist’s creative thought. Each of the sketches contains a new quality, each of the sketches contains a new quality, each of them developed one or another aspect of the figurative characteristics, but at the same time, the basic basic principles of the future composition have not changed radically.

After his arrest for participating in a student meeting during his stay at Kazan University and exile, Lenin strove in vain to return to the university or to complete his education abroad. He was denied both. Then Vladimir Ilyich decided to take the exams “externally, taking a training course during the day. This request was again “followed by a refusal from the Ministry of Public Education. Only through perseverance and perseverance did Lenin, with great difficulty, manage to obtain permission to complete his education. And so, on April 10, 1891, Vladimir Ilyich brilliantly passed the exams at St. Petersburg University, receiving a 1st degree diploma. The versatile knowledge of young Lenin, his deep understanding of the essence of the subject made a great impression on the university professors. The compositional task facing the artist was responsible and difficult. In her decision, Oreshnikov did not have the opportunity to rely on the development of a similar plot in Soviet art. The artist went his own way, which led him to the creation of a completely original composition.

For the plot of the painting, the artist chose an exam in political economy and statistics, where the depth and independence of Vladimir Ilyich’s thinking was especially evident.

The complexity of the compositional expression lay, among other things, in the fact that the artist had to show in the young V. Ulyanov, who was passing the state exam, the future Lenin, a passionate revolutionary, the founder of the Bolshevik party and the leader of the Great October Socialist Revolution. This task could easily push him onto the wrong path of transmitting external expression, which, however, did not happen to Oreshnikov. In one of the sketches, the artist tried to give the young Lenin a movement reminiscent of a speech from the podium, which, naturally, did not satisfy him.

From the very beginning of the creation of the painting, the artist worked on the portrait of Lenin, using photographic documents. He created a sketch of the head of young Vladimir Ilyich, in which Oreshnikov sought to express his modesty and self-confidence. This sketch was subsequently reworked and formed the basis of the central image of the painting. In the first oil sketch, Lenin is depicted seated in the center of the canvas. The seated figure was not very expressive; it was almost equivalent to the group of students on the left and the examiners.

The viewer's eye finds here, first of all, a scene devoid of integrity, which can be viewed in parts; The carpet on the floor and the red color of the tablecloth distracted attention from the main story and brought excessive intimacy to the plot. The artist felt the imperfection of this solution and in the next four oil sketches he looked for a more integral and emotional expression of the plot. In the penultimate sketch, a vertical canvas format appeared, which, of course, contributed to the creation of more favorable conditions for the composition as a whole and, above all, for the solution of the central image. Here the artist was able to finally determine the color character of the future painting, which became Oreshnikov’s great creative victory. The canvas depicts part of the Peter's Hall of the university. Young Lenin stands in the center in front of the examination committee table. A group of excited students sits to the left and behind the central figure. On the right, at the table, are professors Yane-on, Sergeevich, Georgievsky, who examined Lenin. The entire composition is based on the expression of the central image, on the disclosure of its internal content. Everything in the picture, every character and every detail, serves this purpose. Lenin, who got up from his chair, straightened up to his full height, following the train of his thoughts, confident in his knowledge. The strength of his inner conviction is expressed in his raised head, in his swift gaze, as if turned to the future.

The eyes of all the characters in the picture are focused on Lenin, who is the true center of the composition. The images of the painting live in their own closed world, without going beyond its boundaries, and only Lenin, with his purposefulness, addresses us, the Soviet viewer. In this regard, the viewer’s relationship with him is one of the extremely significant and positive qualities of the composition. Lenin's head is depicted very expressively in the painting. This is real luck for the artist. “It seems that the indomitable energy of his spirit splashes from his eyes with sparks and words, saturated with it, sparkle in the air,” wrote M. Gorky about Lenin. And this degree of Leninist inspiration, so figuratively expressed by M. Gorky, is discernible in the picture. Lenin's head is painted boldly, with the peculiarities of pictorial expression inherent in Oreshnikov the portrait painter. The disadvantage of the image of Lenin in the picture is the overly tense and little natural movement of the figure. In light movement, a group of students is depicted to the left and behind Lenin. Their excitement is expressed in the fluctuating contour of the figure, expression and, finally, in the first figure of the student leaning forward. His convulsively clenched hands and the position of his head indicate great tension and attention. In general, the atmosphere of this group is one of extreme surprise and barely restrained admiration.

A baroque fireplace in the corner, with allegorical female figures, an abundance of volutes and brackets, as well as a heavy baguette of the Tsar’s portrait, seem to frame a group of examining professors. This tension of decorative elements emphasizes the content of the representatives of official science sitting at the table and their connection with the reactionary forces of the past, doomed to destruction. The group of professors is very characteristic. Oreshnikov used preserved photographic material, which became the basis for conveying the portrait resemblance of the examiners, material that, however, did not bind the artist in any way, did not lead to compulsion in the figures. The pose and head of Janson, sitting in the far corner, against the background of the fireplace, are very expressive. In this image, the artist tried to synthesize his ideas about the professor of the old, pre-revolutionary university, starting with his appearance and ending with his internal psychological content. Sergeevich, listening intently to Lenin, leaned forward, and Georgievsky, sitting in the foreground, recoiled and jumped back in surprise.

The figure of the latter plays a large role in the composition. Being closest to the viewer, she seems to introduce the picture into the circle of events. She is heavily illuminated, and her head is sculpted more intensely than the others. This contrast of the foreground figure with the rest creates a certain spatial persuasiveness in the picture, but at the same time does not hold the viewer’s eye for long and does not interfere with the perception of the main thing in the composition. In addition, the significance of the figure of Georgievsky in the picture also lies in the fact that it is the direct opposite of the figure of Lenin. Its movement is connected with the movement of Lenin and, in this regard, is the main compositional unit of the picture. “The contrast between these two figures is based on their internal antagonism, which received its external expression in movement and expression. Oreshnikov skillfully introduces the architectural background of the Baroque hall into his composition. The dynamic elements of this background can distract the viewer from the main content of the picture if the artist does not understand the degree of their necessity for expressing his idea. In this case, Oreshnikov correctly and subtly used the architecture of the hall in the picture. The upward elongation of the painting emphasizes the large interior space of the hall. Spatial freedom here is also expressed by the color of the walls - white and blue, the strength of the tone contrasting with the lower, dark-golden part of the canvas; the color of the paintings is based on gray-blue and green tones. Moreover, a significant role in it is played by material color, which is always decisive for an artist. Oreshnikov's undoubted advantage is his deep understanding of tone. The pictorial integrity of the picture is based on the development of tonal qualities of color. “It cannot be said that Oreshnikov avoids overt color contrasts. Portraits of Aleshina, Aslamazyan and other works of the artist refute such an assumption. However, along with the appeal to color contrast, he strictly subordinates the color characteristics of the form to tonal relationships. Oreshnikov is characterized by a soft brushstroke that easily and freely expresses form. There are almost no random strokes in his painting; he always introduces them into the overall color fabric of the picture, which creates that special soft pictorial manner that is so characteristic of the artist and which immediately distinguishes his work from many others. Of course, a positive thing in an artist’s work is a correct understanding of the significance of the system in creating a picture. He avoids sketchiness in his work, achieving realistic completeness and materiality of the image. For the painting “V. I. Lenin at the exam at St. Petersburg University” Oreshnikov was awarded the Stalin Prize in 1948, evidence of popular recognition of the artist’s creative success and the maturity of his skill.

The picture in a figurative, artistic form convincingly shows the triumph of young revolutionary thought over old, bourgeois science. This work by Oreshnikov will rightfully take one of the best places in a number of works by Soviet artists reflecting the life and struggle of the great leader-organizer of the Soviet state. In 1948, Oreshnikov painted a portrait of Comrade Stalin for the State Russian Museum. Oreshnikov had previously worked hard to create the image of the brilliant leader of the Soviet people. In the spring of 1944, he painted a large portrait of Comrade Stalin against the backdrop of advancing Soviet troops. The next year, 1945, he painted a new portrait of the leader for the Leningrad House of Architects. The 1948 portrait has new features compared to the previous ones. Comrade Stalin is depicted sitting in a chair. He looks at the viewer carefully and soulfully. The leader’s gaze and his calm and concentrated posture express a clear consciousness of the goal and confidence in the victory of the Soviet people. Despite the fact that the portrait was executed on the basis of photographic documents alone, Oreshnikov managed to endow the image with great universal human content, warmth and truth, which give the portrait special power.

In the post-war years, the artist generally worked a lot on portraits and achieved a number of successes here. So, in 1945, a large portrait of his wife was painted with a book on her lap. Very beautiful and expressive compositionally, it makes a great impression on the viewer. The artist's fluency in visual media was fully demonstrated here. Equally expressive is the portrait of I. Ya. Bychkov, executed for the State Public Library. The artist easily and freely achieves similarities, truthfully expressing the character of the scientist. It should be noted that the artist strives for simplicity in his portrait compositions and restraint in his color palette. During these same years, the artist painted portraits of V. Vovkushevsky and E. Katoninai. Very interesting are the portraits of his son, executed by the artist at different times: an oil portrait of 1943, alive and similar, a pastel portrait, executed in 1945, in which Oreshnikov perfectly conveyed the character of the child, and, finally, a sketch of a sleeping son, painted by the artist in the same year . In this work of Oreshnikov one can feel a strong and warm sense of life. One day, when looking at a familiar scene, the artist suddenly saw it as if on canvas - a sleeping boy under a pink blanket, a table with his son’s drawings, etc. d. All this was connected by one strong impression, which guided the artist. The sketch was painted at night, under artificial lighting, and carries great truth and warmth in life.

The portrait of the ballerina A. Ya. Shelest, executed by the artist in 1948, is of great interest. This portrait reflected Oreshnikov’s soulful attitude to the art of ballet and the desire to find the most truthful and expressive solution to the image. A. Ya. Shelest is depicted in a dance costume, sitting in a calm pose. This work reflected all the accumulated experience of the artist’s work on the portrait. The ballerina seemed to sit down to rest after the dance. Her hands are folded loosely in her lap and her head is tilted back slightly. In the entire movement of the ballerina, in her downcast eyes, and especially in the coloring of the portrait, a light musical sound is felt, as if left after the dance, a sound in which the ballerina seems to continue to live. There are no unnecessary details or unnecessary movement in this portrait. The color of the portrait is light, dominated by pink, greenish-gray and white tones. In general, the coloring of the artist’s canvases does not irritate the eye or amaze with random color contrast. They are always harmonious, correctly express the content and have a deep and piercing effect on the viewer.

Oreshnikov carefully models the form, and in the portrait he managed to very accurately convey the resemblance to the original. At the same time, in this portrait there is a complete absence of deliberateness in the characterization of the image. The viewer is primarily convinced by his deep humanity and beauty.

Currently, the artist is working on a painting begun before the Great Patriotic War - “V. I. Lenin I. V. Stalin at the defense headquarters of Petrograd.” Immediately after the revolution, an important concern of the young Soviet government and party was the defense of Petrograd. Kerensky, who fled during the uprising, gathered some Cossack units and, under the command of General Krasnov, moved them to Petrograd. On November 11, 1917, a mutiny of cadets broke out, which, however, was liquidated by sailors and Red Guards, and on November 13, Krasnov’s units were defeated at the Pulkovo Heights. “As during the October Uprising, “Lenin personally led the defeat of the anti-Soviet rebellion. His unyielding firmness and calm confidence in victory inspired and rallied the masses!

This moment in the history of our state, the period of intense struggle between the parties of Lenin and Stalin for the victory of the revolution, was chosen by the artist as the theme for his painting. At that time, the workers of Petrograd organized special detachments of volunteers who defended the approaches to the capital. The defense headquarters, which led this struggle, was located in one of the premises of the General Staff, where numerous representatives of work detachments and soldiers flocked to receive instructions and combat assignments. V.I. Lenin and I.V. Stalin led the activities of this headquarters. Soviet painting, which created a number of outstanding works dedicated to the Great October Revolution and its leaders, produced very few paintings on this topic. This makes Oreshnikov’s work especially interesting and necessary. The main idea of ​​the picture is the leading role of the Communist Party in the revolution and the connection of its leaders, Lenin and Stalin, with the people. In the center of the picture, at the table, the artist “depicted V. I. Lenin listening to the reports of the Red Guards. A group of soldiers who have entered are closely following this conversation, while others are listening to the orders of I.V. Stalin, who points out on the map the important routes leading to the city.

To the left, at the table, the staff members were bending over the map. The movement of people in which positions is very free and expressive. The artist worked hard to find the type necessary for the painting. The light, elegant walls of this room, the gray-pink carpet and armchairs, the bronze chandelier outwardly contradict the simple workers and soldiers who came here: However, in this contrast of the decor of the room and the people who filled it, lies a large and significant content, The new owners are the workers and The peasants are busy with a matter of enormous political importance, which is why the viewer is full of confidence that those who previously lived in these palaces will never return here. The images of leaders are closely related to the people and their struggle—this is the main meaning of the artist’s composition. The artist continues to work on the painting “Speech by S. M. Kirov at the 27th Congress of the All-Union Communist Party (Bolsheviks)”. On the podium of the congress S. M. Kirov. With great enthusiasm he addresses the delegates listening to his speech. The sun's rays burst into the hall, illuminating J.V. Stalin, who was sitting on the presidium, and some of the delegates. The portraits of the leaders were executed with great likeness by the artist, and in the images of the delegates of the congress there is a lot of observation and truth. This work of the artist promises to be interesting and significant, a new word dedicated to the bright image of the fiery revolutionary Sergei Mironovich Kirov.

Oreshnikov pays great attention to the pedagogical work that he conducts at the Institute. I. E. Repin, directing a personal painting workshop there and heading the drawing department. The decisions of the 11th session of the USSR Academy of Arts directed the art school along the path of deep development of the Russian classical heritage. In this regard, drawing, naturally, deserves special attention as the basis of the artist’s creative language. The neglect of drawing in past years, which was a consequence of the remnants of formalism in the fine arts, dealt a heavy blow to the art school and hampered the further development of our painting, sculpture and graphics. The Soviet people and the artistic community correctly and timely raised their voices for the restructuring of the educational process in the Soviet art school, which is designed to prepare genuine realist artists, fighters for building communism in our country. The positive results of this restructuring in teaching are already evident, and the department of drawing, headed by Oreshnikov, played an important role in this. Currently, Oreshnikov is the head of a special creative workshop of the USSR Academy of Arts, in which a number of problems of monumental painting are being developed and, in addition, the technical properties of materials are being studied - frescoes, mosaics, tempera, etc. Already now, the workshop is carrying out large works on painting one of the Soviet airports .

For outstanding contribution to the field of Soviet fine arts for 3

Session of the USSR Academy of Arts, Oreshnikov was elected a corresponding member of the Academy. This was an important event in the artist’s life and a stimulus in his further creative activity.

Today only a very narrow circle of art historians, museum and archival workers know about these missing works of fine art, and even then only in Moscow and St. Petersburg. But it was in the city of Stalino (the former name of Donetsk) on the eve of the start of the Great Patriotic War that more than one and a half hundred works of a traveling exhibition of the most famous masters of Soviet painting ended up.

Pre-war capital traveling exhibitions in the city of Stalino

When in 1932 the city of Stalino became a regional center, it began to develop not only as an administrative, industrial, but also as a cultural center. Around 1936-37, the local press and the leadership of the region and city started talking about somehow introducing the residents of the capital of Donbass to works of art from the collections of the most authoritative and famous museums in Moscow and Leningrad - the Tretyakov Gallery, the Hermitage, the Russian Museum etc. There are known cases when workers, students, schoolchildren, and social activists who especially distinguished themselves in production were sent as an incentive to the cultural capitals of the USSR on excursions, where they could see world masterpieces of painting.

However, the authorities wanted as many residents of the industrial Donbass as possible to look at these paintings in person. They did not invent anything new when implementing this idea - after all, long before the revolution in Russia, this method of showing masterpieces to the people was used as a traveling exhibition.

First, works of classics were brought to Stalino and then to the largest cities of Donbass. It is known that in mid-1939 the State Museum of Fine Arts. Pushkin sent a traveling exhibition to us from Moscow. There were presented examples of Western European painting - Italian, Dutch, French, German and other schools. Among the sent works were works by Spinello, Bellini, Krug, Caravaduso, Livene, Grez and others. “59 paintings and 35 engravings, packed in a special container, are sent in a separate carriage. The exhibition is accompanied by a museum representative and a tour guide. The paintings will be shown in the cities of the Stalin and Voroshilovgrad regions,” regional newspapers noted at the time.

A year later, classical painting was also brought to our region from the Tretyakov Art Gallery, but this time paintings by Russian artists. There is information that this traveling exhibition was visited by several thousand residents of Makeyevka. There they saw the works of the best Russian masters: Ivanov, Bryullov, Vasnetsov, Repin, Shishkin, Vereshchagin and others.

A traveling exhibition of paintings in the largest cities of Donbass was also planned in 1941. Its main theme was already Soviet fine art.

The largest pre-war exhibition of socialist realism

It all started with the fact that on March 18, 1939, in a building on Frunzenskaya Embankment in Moscow, the all-Union art exhibition “Industry of Socialism” was opened with pomp. It presented over 1 thousand works of painting, sculpture, graphics, works on which over 700 masters of Soviet fine art worked. As noted in the April 1, 1939 issue of our regional newspaper “Socialist Donbass,” many works were devoted to Donetsk topics.

“Dozens of artists and graphic artists came to Donbass specifically,” the note says. It also drew attention to the fact that “the opening of the exhibition is a great cultural event, a joyful celebration of Soviet art.” “It is necessary that the Central Committee of the unions of coal miners, coke chemists, and the Central Committee of metallurgists of the South organize special excursions of noble people of Donbass to view the wonderful exhibition “Industry of Socialism.” It is also necessary that copies of works dedicated to Donbass be shown at a special traveling exhibition in clubs and palaces in our region,” such a proposal was made on the pages of the main newspaper of the region. And we went to Donbass not copies, but originals of works.

We prepared for such an exhibition with all care. The Moscow publishing house “Iskusstvo” published a special catalog of works that were selected for display in Donbass. The DN correspondent managed to get acquainted with it with the help of employees of the Russian State Library (formerly Leninka) in Moscow, where one of the copies of the catalog is stored.

It states, in particular, that “the purpose of the exhibition is to acquaint the workers of Donbass with Soviet fine art, with the work of its main masters in the field of painting and graphics.” “An exhibition has been compiled from paintings and graphic works on display at the exhibition “Industry of Socialism” in the collections of the State Tretyakov Gallery in Moscow and the State Russian Museum in Leningrad. In terms of scale and artistic level, the exhibition is undoubtedly one of the significant traveling exhibitions of Soviet fine art in recent years... Without pretending to be exhaustive, the exhibition nevertheless gives the viewer a complete picture of Soviet painting and graphics...” - emphasized in the annotation to the exhibition works . And this was indeed the case, and for the first time in 72 years you can see the list of paintings and the names of their authors below.

In the May 29, 1941 issue of the Socialist Donbass newspaper, exhibition guide Elena Merkulova made a preliminary announcement for the residents of Donbass. “One of these days, a traveling exhibition of Soviet fine art, organized by the All-Union Committee for Arts for the Workers of Donbass, opens in Stalino... Portraits of leading people, landscapes and still lifes, works with industrial themes - viewers will see all this in the paintings of Soviet artists of older and younger generations... The exhibition opens on the premises of the art museum and will be in Stalino for about a month, and then will go to other cities of the Stalin region...” - she reported from the newspaper page.

Unfortunately, the newspaper report on the opening of the exhibition has not been preserved, since both the regional library and the regional archive do not have issues of the Soc newspapers for these days. Donbass" and "Stalin's Worker". Moscow art historians call the date June 7, 1941. True, they indicate the location of the exhibition, School No. 1 named after. Dimitrova (the former Romm gymnasium or the building of now music school No. 1 on Artema Street, 66), but, most likely, the paintings were placed in the building of the Museum of Fine Arts in Stalino, which was located at st. Artema, 25 (this building did not survive the war). So the paintings ended up in our city and then their most important secret and riddle begins.

The unsolved mystery of the disappearance of paintings from a traveling exhibition

Let us remember that the Great Patriotic War began early on Sunday morning on June 22, 1941. Then, for the most part, it could not have occurred to the Soviet people that in just a couple of months German troops would be able to advance many hundreds of kilometers deep into the USSR, occupying almost the entire European part of the Soviet Union.

They began to engage in the evacuation of valuables when they realized that things were not going as they had previously said, that “if there is a war tomorrow, we will beat the enemy on his territory.” Cultural valuables were then included in the second stage of evacuated items, because... the first sent trains with industrial equipment to the east. Therefore, the exhibits of the traveling exhibition were placed in boxes and on July 5, 1941, they were transferred for temporary storage to the Stalin Art Museum.

Apparently, this also happened due to the fact that the workers who accompanied the exhibition to Donbass were instructed to return to Moscow. In total, in the act preserved in the Russian State Archive of Literature and Art, signed by the director of the Stalin Art Museum Grigory Starenko and the director of the traveling exhibition Shchuplov, we are talking about 81 objects of painting (in 13 boxes) and 82 objects of graphics (in 4 boxes) for a total amount of the then prices of 340 thousand 067.8 rubles.

We all know today that the pre-war collection of the Stalin Art Museum was not evacuated to the Soviet rear. Only 11 works remained from it, which were saved by Donetsk artists Greulich and Otreshko. The remaining paintings were captured by the Germans after they occupied the city of Stalino. The same fate befell the works of the traveling exhibition of Soviet art. Its exhibits appear in a list compiled at the end of July 1942 by the head of the special Sonderkommando of 256 works of art confiscated from the Stalin Art Museum and allegedly sent to the disposal of the then commander of the German Army Group A, Field Marshal List. Further traces of these cultural values ​​are lost.
To date, they have not “surfaced” at various official painting auctions. Of all those paintings, only sketches and photographs of the portrait of Academician Kantorovich by Kuzma Petrov-Vodkin have survived. Yes, the artist Mikhail Steiner re-painted the portrait of Chkalov in 1956, which is now kept in the Nizhny Novgorod Art Museum. The rest of the paintings simply disappeared and the mystery of their disappearance has not yet been solved! Or maybe not after all?

List of exhibits of the traveling exhibition of works of Soviet art: paintings, graphics, which ended up in the city of Stalino in June 1941 (published in the open press for the first time):
Painting
Box No. 1:
1. Evgeniy Aleksandrovich Katsman - “Tatarnik”, paper/pastel, size 64X64, inv. No. 1349.
2. Mikhail Georgievich Platunov - “Portrait of Mazuruk”, canvas/oil, 60X49, No. 587.
3. Emmanuel Iosifovich Shekhtman - “Plant named after. Andreeva", oil on canvas, 47Х68.
4.Vladimir Vasilyevich Lebedev - “Girl”, oil on canvas, 70X53.
Box No. 2:
5. Mikhail Georgievich Platunov - “Portrait of Academician Akkuratov”, oil on canvas, 64X43, No. 588.
6. Aram Vrammanu Vanetsian - “The sleeve workshop of the Dukat factory”, oil on paper, 43X33.
7. Leonid Viktorovich Turzhansky - “Lenin Street in Sverdlovsk”, oil on canvas, 30X53, No. 116.
8. Abram Izrailevich Peysakhovich - “Portrait of a Girl”, oil on canvas, 36X26.
9. Demyan Vasilyevich Nashchekin - “Combine harvester and tractor in the field”, oil on paper, 24Х33, No. 133.
Box No. 5:
10. Nikolai Fedorovich Denisovsky - “Portrait of Stalin”, oil on canvas, 100X80, No. 1284.
11. Alexander Mikhailovich Gerasimov - “Portrait of Stalin” (copy), oil on canvas.
12.Irina Efimovna Vilkovir - “Girl in the subway (Garbuzova)”, oil on canvas.
13. Georgy Grigorievich Nissky - “Yacht”, oil on canvas, 100X76.
14. Alexander Ivanovich Kudryavtsev - “Early Spring”, oil on canvas, 77X100.
15. Yuri Ivanovich Pimenov - “Hot Day”, oil on canvas, 90X71.
16. Konstantin Gavrilovich Dorokhov - “Parachutist”, oil on canvas, 96X70, No. 199.
17. Nikolay Georgievich Kotov - “Kuznetsstroy”, cardboard/oil, 66X94, No. 179.
18. Nikolai Borisovich Terpsikhorov - “Cotton picking”, oil on canvas, 63X96, No. 1332.
Box No. 6:
19. Kuzma Sergeevich Petrov-Vodkin - “Portrait of Doctor of Mathematical Sciences L.V. Kantorovich", oil on canvas, 87Х71.
20. Vladimir Aleksandrovich Eifert - “Bouquet”, oil on canvas, 81X65.
21. Georgy Georgievich Ryazhsky - “Portrait of Comrade Rukovitsa”, oil on canvas, 70X54, No. 1366.
22. Irina Vladimirovna Brezhskaya - “Portrait of Camellia Garcia”, oil on canvas, 76X65.
23. Martiros Sergeevich Saryan - “Kirovokan”, oil on canvas, 65X81, No. 1196.
24. Grigory Meerovich Gordon - “Portrait of Comrade Korobov”, oil on canvas, 82X65.
25. Sergey Pavlovich Viktorov - “Behind the Lessons”, oil on canvas, 80X70.
26. Grigory Mikhailovich Shegal - “Noon. (Azerbaijan)", oil on canvas, 62Х79.
27.Irina Efimovna Vilkovir - “Boy”, oil on canvas, 80X60.
28. Fyodor Savvich Shurpin - “Portrait of Marina Kozolupova”, oil on canvas, 70X60.
29. Alexander Mikhailovich Gerasimov - “Portrait of Comrade Gudov”, oil on canvas, 58Х79, No. 1085.
Box No. 7:
30. Alexander Alexandrovich Merkulov - “Cottages on Tulomstroy”, oil on canvas, 110Х80, No. 1033.
31.Pavel Vasilievich Malkov - “Speech by L.M. Kaganovich at the festival of railway workers (sketch)", oil on canvas, 61Х125.
32. Ivan Alekseevich Vephvadze - “Excursion of workers to ZAGES”, oil on paper, 104X147, No. 1077.
33. Nikolai Yakovlevich Belyanin - “Spring”, oil on canvas, 86X135, No. 1342.
34. Anfisa Nikolaevna Kuznetsova - “Swing”, oil on canvas, 123X165, No. 831.
35.Magda Ivanovna Drommeter - “Portrait of the geologist Professor A.P. Gerasimova", oil on canvas, No. 336.
36.Magda Ivanovna Drommeter - “Portrait of the geologist Polkanov”, oil on canvas, No. 911.
37. Alexey Alexandrovich Rybnikov - “People from the Mainland”, oil on canvas, 220X161, No. 1138.
38. Yakov Ivanovich Brovar - “The Beginning of a New City”, oil on canvas, 107X165, No. 327.
Box No. 8:
39. Evgeny Aleksandrovich Katsman - “Cooks (Old Men of the Bolshevik Factory)”, used pastel, 83X130.
40. Boris Fedorovich Rybchenkov - “Morning in Bereznyaki”, oil on canvas, 95X136, No. 139.
41. Olga Sergeevna Malyutina - “Bread”, oil on canvas, 100X124.
42.Vladimir Isaakievich Prager - “Portrait of a master of sports, track and field athlete N. Petukhova”, oil on canvas, 130X100.
43. Dmitry Antonovich Kolupaev - “The Reds Won”, oil on canvas, 100X140, No. 686.
44. Joseph Leibovich Pasternak - “Portrait of the laureate of all-Union and international pianist competitions, order bearer Emil Gilels”, oil on canvas, 97Х127.
45. Anna Petrovna Ostroumova-Lebedeva - “Portrait of the inventor of synthetic rubber, academician S.V. Lebedeva", oil on canvas, 127X100, No. 1052.
46. ​​Mikhail Osipovich Steiner - “Portrait of V.P. Chkalova", oil on canvas, 140Х97.
47. Samuil Yakovlevich Adlivankin - “In the fish store”, oil on canvas, 100X120, No. 479.
Box No. 9:
48.Samuil Yakovlevich Adlivankin - “In the fish store”, oil on canvas, 100X120.
49. Georgy Georgievich Ryazhsky - “Portrait of Comrade Dyukanov”, oil on canvas, 137X96, No. 176.
50.Moisey Tevelevich Khazanov - “Vtuzovki”, oil on canvas, 103X115, No. 1316.
Box No. 10:
51. Evgeny Aleksandrovich Lvov - “Zuevskaya HPP”, oil on canvas, 140Х220, No. 493.
52. Serafima Vasilievna Ryangina - “Lumberjacks”, oil on canvas, 152X166, No. 582.
53. Baki Andrisovich Urmanche - “Ishimbayevsky oil fields”, oil on paper, 123X191, No. 553.
54. Vasily Vasilyevich Karev - “The children have come together”, oil on canvas, 137X182, No. 1021.
55. Boris Ivanovich Tsvetkov - “The plane drops mail”, oil on canvas, 200X133, No. 903.
56. Alexey Alekseevich Sapozhnikov - “Reindeer herders in Gydo-Yamo meet the Hero of the Soviet Union Comrade Molokov”, oil on canvas, 140X200, No. 536.
57. Ivan Vasilievich Evstigneev - “Khrushchev in the beet fields of Ukraine”, oil on canvas, 126X186.
Box No. 11:
58. Tikhon Pavlovich Chernyshov - “Fruit”, oil on canvas, 100X176.
59. Apollo Karamonovich Kutateladze - “Comrade. Beria on the tea plantations of Georgia", oil on canvas, 115X160.
60. Nikolai Aleksandrovich Pashkevich - “On a walk”, oil on canvas, 176X145, No. 1184.
61. Nikolai Ernestovich Radlov - “Portrait of the stratonaut-order bearer Professor Verigo”, oil on canvas, 100X80, No. 590.
62. Vyacheslav Leonidovich Sidorenko - “Coal hauling (At the Shurabad coal mines)”, oil on paper, 116X143, No. 197.
63. Alexander Mikhailovich Gerasimov - “Portrait of Voroshilov” (copy), oil on canvas.
64. Alexander Alexandrovich Deineka - “Plane over the ocean”, oil on paper, 86X147.
65. Leonid Zakharovich Tanklevsky - “Excavator face”, oil on paper, 100X120, No. 662.
Box No. 12:
66. Khristenko - “Flowers”, oil on canvas, 100X77, No. 1363.
67. Mikhail Osipovich Steiner - “Portrait of Dvornikova”, oil on canvas, 108Х78.
68. Sergey Mikhailovich Luppov - “Automatic-revolving workshop “ATE”, f/m, 85Х108, No. 195.
69. Nikolai Mikhailovich Romadin - “At the bakery (Moscow Morning)”, oil on canvas, 80X100.
70. Viktor Mikhailovich Oreshnikov - “Portrait of swimming champion K.I. Aleshina", oil on canvas, 103Х80.
71. Veniamin Veniaminovich Kremer - “Metal (Makeevka Steel Plant)”, oil on canvas, 100X162, No. 905.
72. Arkady Vasilyevich Lobanov - “Landscape”, oil on canvas, own. Tretyakov Gallery (State Tretyakov Gallery).
73. Vasily Prokofievich Efanov - “An unforgettable meeting (Leaders of the party and government at the presidium of the meeting of social activists of heavy industry in the Kremlin. Copy from the original", oil on canvas, 300X400.
74. Nikolai Adrianovich Protopopov - “Oil caravan on the Volga”, oil on paper, 183X103, No. 358.
Box No. 13:
75. Boris Vasilievich Smirnov - “Life is in full swing on the Dnieper”, oil on canvas, 135X270, No. 213.
76. Konstantin Amplievich Likhachev - “In a smart dress”, oil on canvas, 180X210, No. 544.
77. Boris Dmitrievich Komarov - “Nikita Izotov among the metro builders”, oil on canvas, 175X235, No. 193.
78. Konstantin Aleksandrovich Vyalov - “Miners”, oil on canvas, 200X250, No. 648.
79.Petr Yakovlevich Alekhine - “Verified”, oil on canvas, 200X263, No. 479.
80. Dmitry Arkadyevich Nalbandyan - “Speech by A.I. Mikoyan at the 2nd session of the All-Russian Central Executive Committee in 1936", oil and paper, 202Х264.
Graphic arts
Box No. 1:
1.David Efimovich Kutateladze - “Coal mines of Tkvarchelakh”, lithograph, No. 63.
2. Mikhail Vladimirovich Matorin - “At the shield of the oil refinery”, used color lino-engraving, 44Х31, No. 132.
3. Alexander Aleksandrovich Merkulov - “Meeting of the icebreaker “Joseph Stalin””, used color linen, 42.5X63.
4.Petr Nikolaevich Staronosov - “Women of the Gorno-Badakhshan region (Pamir)”, watercolor, 88.5X56.
5. Alexander Ivanovich Laktionov - “Portrait of the order bearer V. Balandin, instructor of Stakhanov’s methods of labor,” coal, 87X64, No. 902.
6. Alexander Ivanovich Laktionov - “Portrait of the honor bearer A. Burin”, coal, 87X64, No. 897.
7. Nikolai Nikolaevich Volkov - “Thermal Power Plant Overpass”, akv., 54X63, No. 314.
8. Ivan Nikolaevich Pavlov - “Balakhna”, non-colored linen, 33X50.
9. Nikolai Alekseevich Sheverdyaev - “Construction of the Palace of the Soviets”, etching, 56.5X43.5, No. 1382.
10. Orest Georgievich Vereisky - “The Petrograd garrison is on the side of the people. 1917", lit., 45.5X55.5.
11. Nikolai Alekseevich Sheverdyaev - “Factory yard. Stalino", etching, 63X49, No. 1207.
12. David Efimovich Kutateladze - “Baku strike. 1904”, etching, 63X49.5.
13. Arkady Aleksandrovich Lurie - “Preparation of a working demonstration”, lit., 50.5X66, No. 1594.
14. Ilya Alekseevich Sokolov - “Makeevsky Plant named after. Kirov. Blast furnace No. 6", gouache, 42Х34.
15. Ilya Alekseevich Sokolov - “Cast iron casting”, gouache, 42Х33.
16. Mikhail Efimovich Gorshman - “Arminekend (New Baku)”, aquarium, 32Х48.5, No. 7.
17. Mikhail Vladimirovich Matorin - “Evening on the Volga”, line, 44X30.
18. Mikhail Vladimirovich Matorin - Metallurgical Plant named after. Stalin", lin., 32Х43.
19.Ivan Nikolaevich Pavlov - “Old and New Baku”, lin. 51X37, No. 61.
20. Georgy Aleksandrovich Echeistov - “Promysla (At Maikopneft)”, akv., 43X54, No. 79.
21. Solomon Samsonovich Boim - “At the bunkers (Copper smelter in Karabash)”, gouache, 43.5X62.5, No. 42.
22. Olga Fedorovna Amosova-Bunak - “House in Solvychegodsk”, wood engraving, 20X32.
23. Nikolai Ivanovich Dormidontov - “Tank”, ink, 33.5x48.
24. Ivan Osipovich Akhremchik - “The Ash Room of Belgres”, gouache, 37.5X49.5, No. 430.
25. Dmitry Mikhailovich Tarkhov - “Buronsky mine. View from the Kassar Gorge", oil, 30Х42.5, No. 288.
26. Sergey Sergeevich Popov - “Steam Locomotive”, aquarium, 59Х42.
27. Boris Fedorovich Sukhanov - “Kyshtym Mechanical Plant”, aq., 32Х44, No. 17.
Box No. 2:
28. Sergey Ivanovich Lobanov - “Pike perch”, color. pencil, 30X46.
29.Petr Nikolaevich Staronosov - “Commanders-Mountaineers”, line, 53X39.5, No. 1372.
30. Vasily Ilyich Kasiyan - “Rollers”, etching, mezzotint, 29.5X39, No. 325.
31. Ksenia Aleksandrovna Klementieva - “The Woman Tearing Chechvan”, dit., 33X45.
32. Ilya Alekseevich Sokolov - “Flowers”, line, 51.5X40, No. 1375.
33. Alexander Ivanovich Iglin - “The Kremlin”, line, 30Х46.
34. Zoya Vasilievna Kulikova - “Road to Afrosiab”, etching, 30X38.
35. Vladimir Ivanovich Sokolov - “2nd line in the city of Stalino”, akv., 26Х38.5, No. 282.
36. Mikhail Georgievich Deregus - “Dam”, etching, 30X37.
37. Fedor Vasilyevich Smirnov - “Karachay”, line., 33.5X46, No. 1372.
38. Nikolai Aleksandrovich Sokolov (Kukryniksy) - “Meeting on transport”, akv., 32X41.5.
39.Petr Nikolaevich Lvov - “Monument to the first printer Ivan Fedorov”, lit., 48X36, No. 1581.
40. Nikolai Ivanovich Dormidontov - “Loading salt (Saltworks in Novy Usolye)”, ink, 28.5x36.
Box No. 3:
41.Petr Vasilyevich Novikov - “Ramsay’s Gorge”, lit., 29X34.5, No. 230.
42.Petr Vasilyevich Novikov - “Cinema in Kirovsk”, lit., 29X35, No. 228.
43. Alexey Petrovich Troitsky - “Portrait of I.V. Stalin", woodcut, 20X15, No. 1334.
44. Alexey Petrovich Troitsky - “Portrait of V.I. Lenin", woodcut, 20X18, No. 1313.
45. Elizaveta Sergeevna Kruglikova - “Leningrad. Stachek Street in 26”, etching, 29X37, No. 153.
46. ​​Elizaveta Sergeevna Kruglikova - “Leningrad. Stachek Street in '36", etching, 29.5X39, No. 149.
47. Alexey Ilyich Kravchenko - “The Gateway”, b., pen, caricature, 33.5X22.5, No. 184.
48. Mikhail Mikhailovich Kolentsev - “Sluice No. 9 in Karamyshevo (Moscow-Volga Canal)”, akv., 34X26, No. 1069.
49.Vladimir Ivanovich Sokolov - “Landscape of Donbass (Stalino)”, watercolor, 30X44, No. 283.
50.Vladimir Ivanovich Sokolov - “Stalino. Construction", aquatic, 27.5X44.5, No. 285.
51.Alexandra Antonovna Gladun - “From the Metro cycle,” autolit., 30X43, No. 89.
52. Alexander Arkadyevich Labas - “Odessa”, aquatic, 30X39, No. 1312.
53. Dmitry Alekseevich Shmarinov - “Illustration for Dostoevsky’s novel “Crime and Punishment”, fig., 9X17.
54. Dmitry Alekseevich Shmarinov - “Illustration for Dostoevsky’s novel “Crime and Punishment”, Fig., 14.5X12.
55.Petr Ivanovich Lvov - “Pond in CDKA”, lit., 35X50, No. 1580.
56.Petr Ivanovich Lvov - “Theater of the Red Army”, lit., 32X44, No. 1582.
57.Petr Ivanovich Lvov - “Kirov Museum”, lit., 33X43, No. 1501.
58.Petr Nikolaevich Staronosov - “Open-hearth workshop”, woodcut, 27X19.
59. Zoya Vasilievna Kulikova - “Street in Samarkand”, etching, 21X28.
60. Vasily Ilyich Kasiyan - “Autogenists”, etching, 23X29, No. 323.
61. Konstantin Stepanovich Kozlovsky - “Park above the Dnieper”, wood engraving, 12X48, No. 1398.
62. Konstantin Stepanovich Kozlovsky - “Dnepr”, wood engraving, 11.5X17, No. 1402.
Box No. 4:
63. Nikolai Ivanovich Piskarev - “Parachutist landing”, etching, 58Х48.5, No. 259.
64. Solomon Samsonovich Boim - “Steam locomotive repair shop (At the Kyshtym plant)”, gouache, 44X60, No. 43.
65. Alexey Alekseevich Shovkunenko - “Work in Progress”, akv., 43X62, No. 452.
66. Georgy Semenovich Vereisky - “Lenin’s speech at the First Congress of the Comintern”, lit., 79Х59.
67. Alexey Ilyich Kravchenko - “Cast Iron Pouring”, etching, 64X49, No. 1267.
68. Sarra Markovna Shor - “The Coke Loader”, aquarium, 41.5X53, No. 55.
69. Sarra Markovna Shor - “Metallurgist”, aqua., 56Х44, No. 56.
70. Zhdanko - “Stalino”, aq., 42Х54, No. 560.
71. Toviy Markovich Gusyatinsky - “Construction of the metro bridge”, akv., 39X54, No. 123.
72. Evgeniy Adolfovich Kibrik - “Parachutist”, aqua., 56Х34.5, No. 150.
73. Friedrich Karlovich Lecht - “6th lock of the Moscow-Volga canal”, aquatic, 49X60, No. 1198.
74. Vasily Eliseevich Litko - “Puncher Bunkin”, fig., 49X48, No. 1135.
75. Elena Borisovna Sakhnovskaya - “Steel Grinders”, lit., 51X40, No. 129.
76. Ivan Nikolaevich Pavlov - “Loading oats in Yaroslavl”, lin., 36X50, No. 1143.
Russian State Archive of Literature and Art (RGALI), F-2458, op. 2, no. 350 on 13 sheets.